Demystifying Alternative Music

There's A World Of Great Music Out There - Why Not Dance To It?

Have you heard that peppy little pop song Call Me Maybe?  With 350 million downloads on YouTube, there's a chance that you've heard it somewhere.  But did you know that you can dance the Argentine Tango to this recording?

Likewise, you can tango to Adele's Someone Like You and Katy Perry's Firework, two huge recent hits (Adele won a couple of Grammy Awards).  You can dance milonga to Lady Gaga's Pokerface if you're in an adventurous mood.

But let me pose a rhetorical question.  Have you heard any of these songs played at an alternative music milonga?  Think about that for a moment as we explore some more music.


1980's

If you're more of an 80's person - you know who you are - here are some songs that will work well with the Argentine Tango.  These were selected from many, many excellent recordings.  The music of the 80's is particularly tango-friendly.

Sweet Child O' Mine - Guns 'n' Roses
Sweet Dreams Are Made Of This - Eurythmics
Mad About You - Belinda Carlisle
You Shook Me All Night Long - AC/DC
Wrapped Around Your Finger - The Police

Some devoted 80's fans have even suggested dancing to Bon Jovi's Living On A Prayer.  Just be aware that this could be frowned upon outside of New Jersey.


1970's

If you're a 70's fan, how about dancing a tango to Just The Way You Are by Billy Joel, Keep On Rockin' Me by the Steve Miller Band, the eponymously named Bad Company, or if you're in a seriously adventurous mood, Josie from Steely Dan's Aja album?

You can dance an awesome tango nuevo to Elton' John's Benny And The Jets - provided of course that you can dance an awesome tango nuevo in the first place.


1960's

How about some soulful Motown Tango?  Reach Out I'll Be There by The Four Tops would be a good choice.  Tears Of A Clown by Smokey Robinson and the Miracles has a peppy, tango-friendly beat.

You can dance milonga traspie to Midnight Train To Georgia by Gladys Knight and the Pips.  If you want a mind-blowing psychedelic experience, try the same to Come Together by The Beatles.  Far out, man!


Expanding The Repertoire


There's a whole world of tango-friendly music from a wide variety of artist, eras, and genres. This music won't appeal to every dancer.  Some will always prefer traditional music.  This should never be an issue, because traditional music is played everywhere.

But for those of us who would like to explore music and dance without limitations, a vast musical repertoire is waiting to be discovered.  If only we could convince the DJs to play some of it.  


True Confessions

In the interest of furthering a discussion on alternative music for Argentine tango, I'll share some candid opinions on music. 


Confession Number 1 - I envy West Coast Swing dancers

West Coast Swing dancers get to dance to some of the most emotionally satisfying music ever recorded.  Even if you aren't very good at West Coast Swing, you can still have a great time at a WC Swing event.  The music has such an intoxicating vibe that it pulls you into the groove.


Confession Number 2 - I have a longstanding love/hate relationship with traditional tango music

Traditional Argentine Tango music is inspired, brilliant, wonderful.  The compositions are heavenly, the arrangements complex and textured. Virtuosic musicianship is required for a convincing performance.

This music reaches across time with a mournful passion and a lustful energy that transcends every other feeling in our bodies at the moment.

What could possibly be lacking?  Nothing.  But variety exists in the musical world, and we might profit from sampling that variety.

Traditional tango music embodies a sound and a style from a particular era.  Other styles and eras are compatible with the tango.  We can enjoy these 'alternative' musical styles while remaining true to the essence of the dance.


Confession Number 3 - Alternative music milongas are typically rather disappointing

Disappointing and frustrating.

I've walked into many alternative music milongas with high hopes, but they rarely live up to expectations.  The music just doesn't have the kind of smooth, effortless groovability that our colleagues on the West Coast Swing circuit have come to expect.  Sometimes the songs don't even have an appropriate tempo for tango dancing.

My aim is not to make harsh comments about alternative music DJ's - it won't accomplish anything - but why is the music that they play typically so lackluster? 

Alternative music doesn't have to be obscure or edgy, but it DOES have to have feeling, emotional intensity, and it must communicate clearly with our physiology.

Maybe Tango DJ's should hang out at West Coast Swing events occasionally.  Take note of what makes that musical tradition so exciting and emotive, and bring some of that vibe back to the milongas.

Tempo is critical, of course.  If a song is too fast or too slow, we can't dance to it, at least not comfortably.  I listen for alternative songs that match the tempo of my favorite classic tango and milonga recordings.  I don't want to have to re-invent my dancing just to enjoy a new musical experience.  

Music selection is a straightforward process - find emotionally moving music at the right tempo, ensure that there's enough rhythmic and thematic variety to keep things fresh and interesting, and let the dancers do what they love to do. 

What does the future hold for alternative tango music?  Will DJ's replace some of the techno and new age music that they play today with more emotionally fulfilling compositions?  The dancers will determine the future.  If they won't dance to a particular type of music, it won't last long at the milongas.

If I walk into your milonga and hear Someone Like You or Call Me Maybe on the sound system, you will have gotten my attention and I'll be expecting an evening of seriously adventurous tandas with like minded dancers.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

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Preparation

Be Ready

Prepare.  Don't just practice.  Don't just go through the motions.  Focus.  Identify your weaknesses and work hard to improve them.  Identify your strengths and elevate them to higher and higher levels over time.  Identify what makes you special and develop that until it's extraordinary.  Take pride in your progress but push to achieve more.  Refuse to become complacent, and never believe that you have it all figured out.

When your mind and body tire, rest.  You're going to need to work hard again tomorrow and the next day and the next.  When you become frustrated or humiliated, get over it quickly and keep going.  Setbacks just mean that you still have work to do.  Use the lessons of struggle and defeat to correct your course of action, not to abandon it.

One day someone is going to offer you a special opportunity.  If you turn it down, they'll never ask again.  If you try it and fail, you will have etched your reputation in stone.  But if you succeed, doors will open, and you will have those long, tedious, sweaty, frustrating hours of preparation to thank for your 'sudden' good fortune.

Success didn't come to you because you were gifted or lucky or connected.  It happened because you worked, because you prepared, because you were honest with yourself, because you overcame every obstacle, and because you refused to let circumstances define your place in this world.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

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Don't Sweat The Small Stuff

Enjoy The Important Stuff Instead

You will never enjoy your life fully while worrying about what other people do.

We meet all kinds of people as we go through life.  Some are kind and thoughtful, but others might be rude, lazy, or arrogant.

Some people betray our trust and say hurtful things.  Others simply ignore us; they stare right through us as though we were invisible.

It is perfectly natural, and probably reasonable, to become annoyed or irritated with such people.  However, if you react in this way realize that the situation is not entirely their fault.  Their behavior might be crude, reckless, or unconscionable, but ultimately WE get to decide whether to let that behavior bother us.

Mind Trap

Consider a common situation.  We're waiting for someone, and they're extremely late.  They haven't called to let us know why they're not there.  We feel frustrated, annoyed, maybe even angry.

When the person finally arrives they explain that they've just been through a dreadful or dangerous ordeal and they're terribly sorry to have kept us waiting.  Our feelings of frustration and annoyance are instantly replaced with concern for their well-being.

How is this instantaneous emotional transformation possible?  It's possible because our annoyance was not a reaction to real events.  It was a reaction to our thoughts and what's been conjured up by our imagination.  Most of us have the ability to control our thoughts and therefore we can control our reactions if we choose to.

Milonga Gone Horribly Wronga

What does this have to do with tango?

Everything!

Why do we go to milongas?  Why do we dance in the first place?

To enjoy ourselves!

To paraphrase my point from above: You will never enjoy tango fully while worrying about what other people do.

The milonga is a place of many expectations and sadly many judgments.

We have expectations about how people will conduct themselves.

We have expectations about what people will wear.

We have expectations about how people will react to us if we approach them to ask for a dance.

We have expectations about styles of tango and what movements are appropriate.

We have expectations about the music that's played.

And we have strong expectations about safety considerations and traffic flow on the dance floor.

If any of these expectations aren't met, we might feel justified in becoming annoyed, irritated, or angry.  We might even express our dissatisfaction to other milonga attendees, an encounter that could result in even more negative emotion or even a physical altercation.

Keep What's Important In Mind

When you traveled to the milonga, did you plan to get into an argument or a fist fight?  Were you looking forward to a tense and emotionally draining experience?  Maybe the answer is yes if you have a chip on your shoulder and you like to punch people, but if that's the case you should probably seek therapy before signing up for any more tango lessons.

(Note: All kidding aside, if anger is a real issue with you, you need to take responsibility and seek treatment before you or someone else gets hurt.)

I'm guessing that you went out that evening expecting to have a good time.  You were looking forward to a pleasant, rewarding, relaxing, and enriching experience, not some petty misunderstanding.  So why let yourself get sucked into a negative situation?

Remember, if you can control your thoughts you can control your reactions.

The person who turned down your invitation doesn't have to ruin your evening.

The crazy music that you've never heard before doesn't have to keep you from enjoying connection with your partners.

The woman in the sleazy outfit doesn't have to irritate you.

They guy doing big moves in a small space doesn't have to undermine your tanda.

That fact that you only danced one set doesn't make this an unsuccessful night.

Any of these occurrences could put you in a bad mood, but they will only if you let them.

Let it go.  Let all of it go.  Let it slip away without so much as another thought.  Be content.  Be happy.  Be happy to be dancing, and enjoy the milonga.

Collision Repair

The harshest feelings arise when couples collide on the dance floor.  Collisions happen.  Sometimes they happen when people are being careless, but even careful dancers incur (and cause) their share of bumps and bruises.  Put of bunch of moving bodies into a small space, and guess what?  Folks are going to run into each other sooner or later.

Sometimes the bumps are benign and sometimes they really hurt.  I've been on the receiving end of boleos and ganchos, and it's not pleasant.  I've been stepped on by high heels more times than I can remember, and sometimes those women were rather massive.

It hurts.  You see stars.  You grimace and swear like a sailor.  Fortunately, serious injuries are uncommon.  Most people keep dancing, or they get back up again after a short pause.

You can get angry.  You can get into an argument.  You can demand an apology.  You can remove those nasty people from your Christmas list.

Or you can be gracious, forgive and forget on the spot, and enjoy the rest of your evening.  It's entirely up to you, but personally I don't see any advantage to confrontation.  It's not going to heal your bruises, and it's not going to encourage anyone to be more careful.

Don't sweat the small stuff.  Don't let criticism, hard feelings, or arguments get in the way of a pleasant evening (even if it's a bumpy one).  Letting go and getting back to tango is the best policy.  We only have so many dances in life.  Fulfillment is not optional; it's mandatory.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

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Musicality Cookbook - Part I: Rhythm

Add Variety And Spontaneity To Your Tango Using Rhythms, Accents, and Timing

Dance is a physical response to music.  Some would argue that it's even a physical manifestation of music.  Even if music doesn't happen to be playing when we're dancing, our movements are still based upon the elemental musical concepts of tempo, rhythm, accent, and phrasing.

An understanding of musical principles can improve the quality of our dancing.  We can alter and intensify our dance movements when we associate our movements with events in the music.

Argentine tango is ideal for experimenting with musical expression.  Unlike other dances, the steps of Argentine tango are not designed with preset rhythms in mind (the 1-2-3 of the Waltz or the Quick-Quick-Slow of Salsa, for instance).  The tango is a wide-open palette for imaginative musical interpretation.

I'll spend some time today discussing how rhythm can be used to enhance tango movements.  In a later post, I'll discuss phrasing and other musical elements.

Know Where The Beat Is

This sounds almost too trivial to mention, but it's important because a lot of people struggle with this.  We can't add rhythmic variety to our dancing if we are unaware of rhythm in the first place or if we don't move to the beat accurately.

It's critically important for all tango dancers to be able to recognize the beat and move to it accurately.  The tango music of orchestra leader Juan D'Arienzo typically has a clear, pronounced, regular rhythm.  Listen to the music of D'Arienzo.  Listen and locate the beat.  It must be very clear in your ears, in your mind, and in your body.  Keep listening until it is.

Upload some recordings of D'Arienzo to your iPhone, strap on some of those nifty little headphones and walk while his music is playing.  Step accurately on every beat (or on every other beat for some variety).  Dance simple patterns to D'Arienzo and make sure that the strongest part of each step is falling right on the beat.  Accuracy is very important.

Exercise 1: Normal tango walk on strong beats (walk on each beat)

1  2  3  4  1  2  3  4 (etc.)

These exercises, while simple, are not easy, particularly for those who haven't studied music formally at any time in their lives.  But you are working with important concepts here, and this deserves serious, focused practice time.  If you'll put in the effort, you'll be rewarded with improvement - maybe not right away, but slowly and surely it will come.  Nothing else that I'm going to suggest today will be of any value if you're still struggling to locate the beat of the music.

Accent Selected Beats

As you're listening to D'Arienzo - you are, aren't you? - you'll notice that some of the so-called strong beats are even stronger than the rest.  Typically, this happens at about once every four to eight beats and coincides with the beginning of each new musical phrase.

Just as musicians add accents to their music, dancers can add accents to their dance steps. Repeat Exercise 1 again, but this time put a bit more emphasis into beat number 1 out of each sequence of four.  The extra emphasis is a musical accent that will add variety and dimension to even the simplest tango sequence.

Note that we dancers don't need to accent the same beats that the orchestra does - more on this later - but it will help to match the orchestra's accents before applying this concept more creatively.

Slow Down

We can add drama and intensity to almost any dance step, even parallel walking, by slowing down out movements.  Instead of walking on every beat, the leader can walk on every second beat, or every fourth or sixth or eighth beat.  (That ought to keep your followers guessing, gentlemen!)

Exercise 2: Slowing Down (dance the beats in bold only)

1  2  3  4  1  2  3  4  1  2  3  4  1  2  3  4    (REPEAT)


Stretch The Time In Between Beats

To accentuate the slow pace even further, slow down every portion of your movements.  The collection of the trailing legs can be done slowly, as can the preparation of the next step.  Take that slow, stretchy time to be aware of your partner, their position and their balance.  Enjoy the extra time together.  And always, always, always listen very closely to the music.

Hurry Up And Wait

We can also accentuate a slower pace of steps by moving more quickly.  This is the opposite of stretching time (sort of - but hey, we're looking for variety, right?) and it may seem counterintuitive.  The objective is to step infrequently (perhaps on every fourth beat of a D'Arienzo piece) but to move very quickly when we do step.  Then hold your position until the next sharp move.

For this technique, we won't slow down the collection or the preparation phases of the step.  All of our actual movements will be quick and snappy.  However, while we're waiting for our next burst of movement, we'll build up tension in our bodies as though we're winding up a spring.  When we step, we release the energy of that spring and start building it back up again.  Try it.  It's fun!

Speed Up

Whereas slowing down and taking fewer steps adds drama and intensity to the tango, speeding up adds excitement.  The easiest way to "speed up" is to throw in some short quick steps here and there.  We can do this accurately by squeezing two evenly spaced steps into the time that one step used to take up.

Note: Rock steps are a low-effort means of accomplishing this if walking quickly is too challenging.

Stringing several quick steps in a row will add to the excitement, but it can be challenging. Even if you're good at stepping quickly, your partner may not be.  It's best to build up slowly to see what each person can handle before creating an embarrassing situation.

Exercise 3: Normal tango walk with some quick steps thrown in (step on the bold beats only):

1 and 2 and 3 and 4 and 1 (etc.)

Speed Up AND Slow Down

Variety is the spice of life.  Blend ingredients to inject surprise and dynamic tension into a song or a tanda.

Emphasize The Weak Beats

When you were doing your D'Arienzo timing exercises - you DID do your exercises, correct? ;-) - you were probably identifying and walking on the strong beats of the music.

(Note: Musicians recognize these strong beats are 1 and 3 of the measure, even though dancers don't count them using the same numbering system.  I'll speak more on these differences in a future post.)

We should be aware, however, that there are other beats in between.  If we break each strong beat in half, we'll hear one weak beat in the middle of two strong beats.

Exercise 4: Don't walk this time, just listen for the strong (1234) and weak (and) beats:

1 and 2 and 3 and 4 and 1 and 2 and (etc.)

These "and" beats are the ones that we begin to include when we double the pace of our steps.

Exercise 5: Emphasizing the weak beats (walk on the bold beats only)

Here is an example of emphasizing the weak beats.  

1 and 2 and 3 and 4 and 1 and 2 and 3 and 4 and (REPEAT)

This can be rather challenging to lead and to follow, but it will definitely add spice to even the simplest step.

By the way, musicians have a name for the technique of emphasizing weak beats over strong beats.  It's called syncopation and it's used in many different musical styles and traditions.


Practice! Practice! Practice!

The more that you experiment with rhythmic variation in your dancing, the more fluent you'll become in the application of this powerful musical concept.  As this becomes easier, you'll be able to add exciting creative the musical dimensions to any tango sequence, choreographed or improvised.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

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All Rights Reserved

Following Is Terrifying

How To Manage Stress, Prepare For Success, And Let Your Natural Elegance Shine

One of my teachers once asked me to share some private lessons with a less experienced follower.  The lady, whom I knew from group classes, was a pleasant person and a dedicated student.  She was also relatively tall, so height could be used to our advantage.

(For those who haven't met me in person, I'm the same height as Cary Grant.  Not that I'm bragging.)

I agreed to share some lessons, and we scheduled our first appointment for the following week.

The first time was a bit rough.  The follower seemed nervous, and it was clear that she was trying hard to avoid mistakes.  Unfortunately, she was trying too hard.  She was guessing steps instead of following the lead, and she was overcorrecting technique and posture without being directed to do so.  This led to many awkward moments, which in turn led to more tension and anxiety.

I had to figure out some way to calm her down before the next lesson.  I wanted to let her know that she wasn't under pressure and that mistakes were a part of the process.  I wanted her to relax and enjoy our time together.

The next week I met her outside of the classroom.  We exchanged our greetings, and when she was ready to go in, I said this to her.


I have a favor to ask.  Don't try to please me in the lesson.  Let me please you.


Something must have clicked, to use a colloquialism.  The lesson went much more smoothly and she actually seemed to enjoy herself instead of apologizing constantly.  She was far more relaxed and receptive to the lead.  She had made a breakthrough.


Following Is Terrifying

Or at least it should be to any rational person.  The follower has no idea what's coming next moment after moment, song after song.  To thrive in this situation requires a special state of mind and body.  Here are some tips that can help put you in the best possible position to receive the lead.  


Relax Both Body And Mind - Physical tension will slow your reaction to the lead, and anxiety will cause you to misinterpret it.

Give Up On The Guessing Game - You cannot - CANNOT - guess what the leader is going to do next.  Don't even bother.  It can only lead to miscues and misunderstandings.

Take Responsibility For Your Own Balance - Even in styles of tango where the follower leans toward the leader's torso, the follower is not hanging on the leader.  She needs to manage her balance properly to avoid feeling too "heavy."  (In open embrace, maintaining balance is self-explanatory.)

When You Take A Step, Transfer All Of Your Weight - One-hundred percent.  All or nothing.  Don't get caught in the middle (unless he leads you to stay there).

Relax The Trailing Leg - Most student followers have problem letting this leg relax.  I see this phenomenon well into the Intermediate level.  Perhaps it's counterintuitive in societies that teach young ladies to hold their thighs together from a young age.

Let the non-standing leg hang from your pelvis like a pendulum.  This improves your overall balance immediately.  It also provides the leader with an amazingly limber creative tool that he'll brag about to other leaders.  Not that he'll have to, because they're going to see it for themselves every time you take the floor.

Never Change Weight Unless He Leads You To Do So - Well, I suppose it's okay if you want the leader to kick you, trip over you, or step on you.

I think we need an acronym for this one: NCWUHLYTDS

Hmm, no that didn't work, but it would make an awesome password.

Allow Yourself To Be Led - Thankfully, self-leading followers seem to be few and far between these days.  But if you find yourself executing un-led boleos or planeos or outrageous adornments, don't be surprised when the better leaders walk right past you.


Be Sluggish - Ah, yes, I have Saved the Best for Last.

Why would a follower want to be sluggish?  It's simple.  If you're really following the leader - not just guessing where to go in advance and going there on your own - there will be a short time delay between the leader's movement and the follower's response.

Followers are not judged for instantaneous execution of steps.  They're judged for the quality and accuracy with which they interpret the lead and embody those movements.

Quality and Accuracy are more important than Speed.  And just as in the real word, Quality and Accuracy take time to produce.

You don't need to rush into the step the instant that he leads it.  It could take upwards of a full second to react to what he's trying to get you to do.  Take that time if you need it. He'll speed you up if he has to - it's always easier to speed up a follower than to slow her down.

(A certain degree of elasticity in the embrace can help to accentuate the feeling of delay.  It won't work well in a too-rigid embrace.)

If on the other hand, you're reacting very quickly, this could indicate that you're GUESSING.  (See above)

We guess when we're unsure, but unless you're dancing with a leader to does the same handful of steps over and over and over again - yes, I realize that they do exist - guessing is not helpful.  It's an accident waiting to happen.


A tango is like a date, ladies.

It's always better to arrive a little late.

It's better to let the man demonstrate his intentions clearly and convincingly before you submit to his plans.  That doesn't mean that you'll stand stubbornly on the dance floor like stone.  You're responsive, but you prefer to be smooth and measured rather than rushed or jumpy.

If he doesn't open the door, you don't get into the car.

If he doesn't pull out the chair, you don't sit at the table.

Oh, yes - sluggishness!  Being a little bit sluggish has served ladies well over the years, and it also serves the follower quite nicely.

If he doesn't lead a step, don't take a step.  And don't apologize.  If he wants a reaction, has to take his time and lead properly in order to inspire those results.

Be fully present, be well balanced, and delicately responsive, but never rush into a step or any movement.

Be calm.  Be unhurried.

And never, ever, ever come across as eager or anxious.  There's plenty of time for this dance and this evening to play itself out.

The true gentlemen will always wait.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

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Principles Of Practice - Effectiveness and Efficiency

How To Improve Faster And Avoid Ruts


In order to improve our skills and expand our abilities we need to practice.  This is not an unfamiliar idea.  Even young children recognize the principle.  Practice for the piano recital. Practice with the soccer team.

Regardless of the endeavor - from dancing to singing to cooking to painting, from martial arts to musical instruments, from writing to shooting pistols to closing the deal - practice is the key to improvement.

But HOW should we practice?  Everyone has general ideas about practice; some of these ideas are culturally ingrained.

But how effectively has practice worked for us in the past?  Is it time to question some old perceptions?

Let's look at a few examples.  Many people take piano lessons.  How many of those students can sit down at a piano and entertain at a dinner party?

Lots of people play golf regularly.  How many of them have good putting and driving technique?

Lots of people take tango classes.  They go to milongas week after week.  But for some folks improvement comes very slowly.


What's Missing?

What's the secret?  What's missing when someone invests a lot of time on something but makes only marginal progress?  It usually comes down to one of three possibilities.

A Conscious Choice To Avoid Practice

Some people don't have time to invest in practice regardless of whether or not they'd like to improve.

Others may be satisfied at their current level.  Practice for them isn't worth the opportunity cost of time and effort.

Incomplete Awareness

In order to improve something, we first need to understand how well it's working.  Or how badly it's NOT working.  If you're driving down the road and you don't realize that your turn signal is burned out, it won't occur to you to have it replaced.

For dancers, video can highlight problem areas that we might not otherwise notice.  Until we make an honest assessment of our strengths and weaknesses, we won't understand what aspects of our dancing require focused practice.

Ineffective Practice Methods

There are almost an infinite number of ways to practice ineffectively.  Listing them would be like listing all of the ways not to drive to Chicago.

Rather than try to compile a partial list I would suggest that dancers work with a teacher to help identify their problem areas and come up with a plan for improvement.  (Any good teacher should be more than willing to do this for you.)


Effectiveness and Efficiency

Practice is Effective when it yields positive results.  Practice is Efficient when it doesn't waste time or effort.

Good practice is both efficient and effective.  It's designed to help the student improve as quickly and easily as possible (keeping in mind that everyone progresses at a different rate, and 'as easily as possible' means that you still need to do a lot of hard work, just not extra wasted effort).

Tips For Effective Practice

Understand what you're trying to improve and why. - This requires an honest assessment of our strengths and weaknesses along with an understanding of our short and long-term objectives.  A good teacher or coach can help by identifying problem areas and deficiencies and developing a plan to address them.

Do the right things in the right way. - It doesn't help to practice mistakes (self-explanatory).  If you're not sure what to do or how to do it, discuss your developmental needs with a teacher who has a track record of helping students overcome obstacles.

Work on your weaknesses. - Concentrate on the areas that need improvement.  Don't waste time on things that already come easily.  Do the hard work, and over time you'll be able to convert those weaknesses into strengths.

Focus on one issue at a time. - Do your brain and your body a favor.  Work on one problem or technique at a time.  Simplify the exercise to isolate the area that you want to improve.

Work only as long as you can engage your full concentration on the problem areas. - When we stop concentrating we become sloppy.  What happens when we repeat sloppy technique over and over again? - Right!

Strive for Near Perfection, but don't get frustrated by Absolute Perfection - It's better to do each movement as perfectly as possible for a handful of times (or even ONCE) than to do it sloppily ten-thousand times.

Just don't worry about ACHIEVING perfection.  It's enough that you STRIVE for it, that you REACH for it.  That's the secret to developing technique effectively.

Concentration is vitally important.  In order to improve we need to approach perfect form as we practice (at least to the degree that we are capable).  It's not humanly possible to maintain that level of focus for hours and hours on end.

Add variety to keep the mind and body fresh. - We can repeat the same techniques or movements only so many times before our brains go to the Bahamas and our feet hurt like crazy.  Before you approach your saturation point, switch to another topic.  Or at least to the other side.


Keep practicing.  Keep doing the right things in the right way and improvement will arrive like a check in the mail - a little late but well-earned and greatly appreciated.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved