Leaders or Lemons?

Guys Who Might Need To Rethink Their Game

Nobody's perfect, but these fellows tend to raise some eyebrows.

Bear Hug Bernie

Bernie believes in a firm embrace, firm enough to bruise a follower's kidneys and send them to the chiropractor. He holds a woman with the intensity of a machine designed to test the roll cage of a Jeep. Perhaps Bernie lacks confidence in his ability to lead without the full strength of his skeletal muscles, or maybe he's just a clumsy oaf.

How to spot Bernie: The follower is grimacing and leaning backwards from the waist in a futile attempt to manage the pain and escape his clutches.

Lascivious Lars

Do you like close embrace? Good! Because Lars does, too! Very close with a generous helping of perspiration and creepiness. If you're new to close embrace, you're in luck! Lars will attempt to cure you of your misguided need for personal space. Just let him get his hands on that delicious body of yours, and he'll take care of everything!

How to spot Lars: He looks like he's having the time of his life. The follower, not so much.

Professor Explain-it-All

The dear professor like to educate followers. He'll begin by explaining what they should be doing. If that doesn't work, he'll graciously demonstrate the follower's part. If you still don't get it, ladies, he'll enlist the aid of a "good" follower to show you what he wants you to do.

The only thing that the professor hasn't figured out is that all of this information should be transferred to the follower via his lead, not his mouth.

How to spot The Prof: He's the guy who's "teaching" on the milonga floor.

Fast Floyd

Floyd is motivated.  He has a plan for this dance, and he's going for it whether you're ready or not. Details such as balance and axis aren't important to Floyd. When he wants a boleo, he wants it NOW, even if you haven't recovered from the fast-moving colgada that he just threw at you...after a fast molinete...after a bunch of fast ochos...after a gancho that he led so quickly that you almost tripped over your own feet. You get the picture.

How to spot Floyd: He seems relaxed while the follower is being thrown around like a rag doll.

Critical Clark

Oops! You did it again! You know that you were supposed to cross there. You know that you're supposed to take bigger steps. You know that your boleos should be more fluid. You know that you're not supposed to lose your balance. Hopefully, one day you'll get it right. Until then, Clark will be there to remind you of each and every one of your imperfections, because how else are you supposed to learn?

Dancing with a follower who makes so many mistakes, well, that just tries Clark's patience to no end. So shape up and stop being such a hopeless klutz, and Clark won't have to complain so much!

How to spot Clark: He has an annoyed look on his face and scolds his partners frequently.

Stinky Stefan

Stefan hasn't showered in days, and he doesn't believe in deodorant. He believes that the body's true smell is all the perfume that anyone ever needs. Stefan may also be a smoker. Anything to add a little bit of pungency to his unique presence.

How to spot Stefan: Stand next to him.

Reckless Ron

Ron loves to dance. He focuses intensely on what he and his partner are doing. Unfortunately, he pays no attention to what's going on around him. Ron runs into things...and people. He runs his partner into things...and people. Actually, he gets her to do the hard job of kicking and stepping on the other couples. Ron just leads her in the right direction.

People complain to Ron, but he doesn't understand why they get so upset. He's not invisible. They should be able to see him coming! It's his dance floor, too! He paid his cover charge! Why is everyone so irritable?

How to spot Ron: Look for the couple that bumps into everyone.

Tasmanian Trent

Tasmanian Trent - named after Warner Brothers' Tasmanian Devil - is a younger, more frantic version of Reckless Ron. Trent performs large, spectacular movements in small spaces, putting all of the other dancers in the room on high alert.

Trent's like a chimp with a chainsaw. He doesn't worry about floor craft. He's here to perform! And all of you slowpokes need to back off and give him some space.

How to spot Trent: He occupies his own vortex where other couples fear to tread.

Choosy Charlie

Charlie plays the role of a casting director. He's looking for a specific type of woman to fulfill his fantasy. Maybe he's into young women with pretty faces.  Or tall and slender with long legs. Or statuesque brunettes. Or petite Asian ladies. Whatever role Charley is casting, that who he's going to seek out at the milonga. Can you spot Charley's type?

How to spot Charlie: First, you have to figure out the type of woman that attracts him. After that, he'll be easy to spot.

Narcissistic Ned

Ned comes to the milonga with the best intentions. He wants to dance with everyone. But if you're not up to par with Ned's expectations, he'll let you know about it with a glaring look and a dismissive smirk. 

Don't worry. You won't have to dance with Ned again. He'll be off looking for a more suitable partner, someone who actually knows what she's doing. Not like YOU!

How to spot Ned: His aloof smirk is a dead giveaway.

Randy the Ringer

Randy is the star of the show, and he's here to prove it. When he and his partner take the floor, he'll show you every well-rehearsed trick in his arsenal. Whether or not his moves have any relation to the music is beside the point. The point is that Randy is a special guy, too special to dance with a beginner or someone who might not executed every step precisely. 

How to spot Randy: He always arrives with a partner in tow and never dances with anyone he believes to be "beneath" him.


Suggestions for Improvement

Bear Hug Bernie - Ease up before you hurt someone! Hold the follower as though you're holding a baby, not a baby grand piano.

Lascivious Lars - Respect people and their space. Discover how nice it feels when someone decides to dance closer to you because you've made them feel comfortable, rather than because you grabbed them and took them hostage.

Professor Explain-it-All - Lead with your body, not with your mouth.  No talking and no demonstrating.

Fast Floyd: You need to start paying much more attention to the follower, particularly her axis and balance. Never lead the next step until she has recovered fully from the last one. Pauses are beautiful. Relax.

Critical Clark - News flash: you're not perfect either, Clark, or your dances would be a lot smoother. Stop blaming women for your own shortcomings.

Stinky Stefan - Realize that you're not nature's rosebud. Take a shower and use deodorant before every milonga.

Reckless Ron - If you have more than one collision per set on a regular basis, take responsibility. Open your eyes and be more careful. Always apologize after a bump no matter who is to blame.

Tasmanian Trent - We appreciate your energy and your skill. Try to dance with the crowd instead of performing for the crowd. Use space conservatively and blend in. People won't think less of you; they'll appreciate you more.

Choosy Charlie - I hope you find what you're looking for, because you're not going to change.

Narcissistic Ned - Try to be a bit more accepting and patient with followers. I realize that this is difficult for you, but everyone will appreciate you more if you'll hold people in higher regard and replace those smirks with a warm and genuine smile.

Randy the Ringer - You have impressive abilities. Share the wealth. Dance with less experience followers from time to time. Treat them to a few minutes of relaxed and simple steps in your experienced arms. Inspire others with generosity rather than pomposity.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2013 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved

This Dance

This Dance

Is not about Me
And not about You
It's about We
It's about Two
And the moment
When two
Become one.

It's not about steps
That someone once taught us
Or some clever sequence
We recall from a show
It's about the discovery
Of movements within us
The sure and the awkward
The dull and the fine
The stumbles, the bumps,
The humble attempts
We take
As frustration ascends toward elation.

It's the limits we push
As we polish our posture
Refine our best walk
And add new confidence.
The milestones we pass
The joys we acknowledge
The secrets we learn
As we blossom and grow
And stand open
Face to face
And uncover
The insights we can know
ONLY
When we explore them
Together.

The dance lives in music,
The old orchestras
And brilliant composers
Of a lost Golden Age,
Whose songs and melodies
Reach out so sweetly
Across chasms of time
Borne in the grooves
Of ancient recordings
Now
So cleverly disguised
And digitized
Into compact collections
That fit neatly, completely
In our smallest of pockets.
TODAY
From devices
That the artists
Could never have dreamt of,
The sound and the magic
Of heavenly music
Rise up once again
And surround us with feeling
And rhythm and singing
So tender, familiar,
And inspiring.

Yet, it's not about music
Or the ones who once made it
As much as we honor
Their skills and their talent
And celebrate the works
They refined and created
When no sacrifice was too dear
For their music
Sounds
So clear now
Here
Hear
For our enjoyment
So many decades hence
The lilting sad tandas
Of three minute songs
That we all recognize
After hundreds of times
On the dance floor.
Yes
This dance
It transcends
Even the wonder of music.

This dance
THIS dance
Right now and right here
This dance with YOU
In a warm human moment
That will soon disappear
Is about LIFE
Your life and mine
Shared
Intermingled
Precious and pure
A coming together
As we rise to the floor
In the wondrous embrace
Of trust and transparency
Honesty
Passion
Vulnerability
Immersion
And humility
Clarity, sincerity
Serenity
And the awesome experience
Of deepest Acceptance
Where no secret is shielded
And no nuance obscured
No flaw unacknowledged
No purpose unsure
Welcome
Into the arms
Of the tango!

Here we are
In THIS dance
In THIS place
In THIS brief moment
A quick, fleeting instant
In the arc of all time
But it's OURS
Solely ours
It's yours and it's mine
And as we respond
With care and conviction
We'll suspend
And make it last
As if there's no knowledge
Of a tomorrow.
Will we savor this time
And live in each second?
Will we share one small space
And honor each other
However we are
Skilled or Beginner?
Will we dance?
And be kind and mindful
Of all of the gifts and the joys
That this moment can bring?
Will we dance
And be
Presently and openly and gloriously and miraculously ALIVE
ALIVE
Alive in one moment together
Together?
TOGETHER -
For that is what the dance is.

Here we are
In the soft melting minutes
Before the old music
Fades and concludes
And our unique moment passes
And slips far away
Will we dance
THIS dance
As though we mean it?

Copyright © 2013 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved

Argentine Tango Best Practices - 5. Understanding Structure

Comprehension and Invention

The Persistance of Memory

When I took my very first tango class, I memorized the step sequences that the teacher demonstrated that day.  The next week, I added to my vocabulary by memorizing new sequences as they were presented.

Unfortunately, after a couple of months I was no longer able to remember all of the sequences from previous weeks.  In every class, I would learn something new, but I would forget something from an earlier lesson in the process.  I began to wonder whether I was wasting my money.

Terminology

In tango classes and workshops the teacher often presents a series of movements to be executed sequentially.  This series of movements is commonly known as a 'step', as in, "Do you remember the step from last week's class?"

The word 'step' is somewhat misleading in this context.  A 'step' more accurately describes a single, atomic unit of dance movement, such as taking one step forward or one step to the side.  For clarity, I'll use the word 'sequence' to describe a series of contiguous dance movements.  Some people may prefer the words step, figure, pattern, or combination. Rest assured that they all mean the same thing.

Analysis of Sequences

It wasn't long before I realized that I would need a methodology to analyze and categorize the sequences that I was learning.  Otherwise, I keep forgetting what I had studied in class.

I began with a comparative approach and eventually learned more formalized and rigorous methodologies. I have summarized the most important methods below.

Method 1 - Comparative Categorization

My first attempt at making sense of tango structure was to compare sequences while noting their similarities and differences.  If two sequences started the same way, or if they contained a common technique, I would associate them as belonging to a similar category.

This approach helped me to remember more effectively what I was learning in classes. As I gained experience in recognizing common elements in sequences, I began to understand how to recombine those elements in new ways. 

Method 2 - Combining Concepts

With the help of knowledgeable teachers and some brilliantly organized workshops, I realized that fundamental principles that I had been leaning in my classes (parallel and cross system, turns, walking, changes of direction) could be used to describe many of the techniques and positions that occur within tango sequences.

Most tango dancers understand these central concepts. Analysis based on these fundamentals can be interpreted and utilitzed by a wide audience. 

The sacada system provides a ready example. Forward and back sacadas can be described in terms of steps entering the unique steps of the turn (forward, side, back). A map of sacada possibilities can be generated by combining the steps of the turn with all of the entrances possible in both cross and parallel systems.

One constraint of this approach is that it doesn't explain derivative movements thoroughly (e.g. boleos and ganchos). A more rigorous approach would be needed to map the possible launch points for such movements.

Method 3 - The World As Seen Through a Turn

I'm mentioning this method for completeness, although I don't feel that it has much utility. During a workshop, the teacher suggested that steps could be described in terms of the two partners each moving in their own molinete.  The molinetes could be going in the same direction or in opposing directions.

For instance, where the partners take side steps together in parallel system (i.e. Step 2 of the 8-Count Basic), that's similare to concurrent side steps of opposing molinetes. It's difficult to visualize without an in-person demonstration, and the practical applications are limited, but the approach did offer some interesting insights.

Method 4 - Systematic Analysis

Argentine tango took an interesting turn in the 1990's when Gustavo Naveira and Fabian Salas began to analyze tango using the principles of dance kinesiology. Their research resulted in a detailed mapping of fundamental tango movements. This mapping can be used to describe existing sequences as well as to formulate new possibilities.

The knowledge and practices that grew out of this approach became known as Tango Nuevo.

People have varying impressions and opinions about Tango Nuevo. Some associate the term with a particular 'style' of dancing that tends to be experimental, non-traditional, and youth-oriented. It's an understandable conclusion - most of use have seen performances that would  support such an impression. But Tango Nuevo is more than an energetic form of tango danced to electronic music.

Tango Nuevo provides a methodology that can be used to analyze and create tango movements regardless of style or period. The methodology works with tango choreography from any era. It can be used as a tool for notation, for teaching, and for developing new and or revised choreography, in advance or improvised in real time.

The Fundamentals of Tango Nuevo

Tango Nuevo is based on a series of simple steps (single movements in this case) -

- the forward cross step (related to, but not the same as the basic "cross"
- the back cross step
- the forward open step
- the back open step
- the side open step
- the independent, non-traveling movement of pivot

Each of the five of the fundamental steps can be influenced by a series of modifiers.  For instance, if we stop a forward cross step early (before the foot touches the floor), we can transform it into a linear boleo.  If was add a pivot modifier as well, the movement becomes a circular forward boleo.

A Basic Example

As an illustration, I'll notate first the standard 8-Count Basic (Salida) using these concepts.  Afterward, I'll generate a new sequence by using the methodology to modify the Basic 8. 

Notation for the Familiar 8-Count Basic

The information is organized into rows of two columns.  The leader's movement is expressed in the first column, and the follower's movement in the second. 

Step #. Leader / Follower
1. Right open back step / Left open forward step
2. Left open side step / Right open side step
3. Right forward cross step / Left back cross step
4. Left open forward step / Right open back step
5. Right open side step shortened * / Left forward cross step shortened **
6. Left open forward step / Right open back step
7. Right open side step / Left open side step
8. Left open side step shortened (weight change) / Right open side step shortened (weight change)

* Think of the leader's Step 5 as a weight change to his right side.  You can also think of it as the shortest possible side step.

** The follower's Step 5 is what's colloquially known as "the cross."  You can also think of it as the shortest  possible forward cross step.

A Word About Notation

The notation system above is not standardized. I use this format because it's readable and it's easy to type into Excel.

I have seen other notation systems that use a set of symbols and abbreviations, but over time I have difficulty remembering what the symbols mean without a key. I prefer to notate the movements using English words in spreadsheet-friendly, row-by-row format.

The format of the information is less important than the information itself. Feel free to use any format that appeals to you.

Creative Possibilities

Now, let's modify the 8-Count Basic Salida notated above. We'll begin by replacing the original movements in Step 4 with something different, something that will open up new possibilities and take the sequence in a new direction.

We could modify any of the 8 steps for either or both partners. I selected Step 4 at random. As an exercise, try modifying Step 2 or Step 3 to see where that will take you. I'll explore this technique in greater detail in a future blog post, but this should help give you an idea of how it can be applied.

Step #. Leader / Follower
1. Right open back step / Left open forward step
2. Left open side step / Right open side step
3. Right forward cross step / Left back cross step

Pivot the follower to the right before the next step.

4. Left back cross step / Right back cross step

Note: The leader and follower are now in a symmetrical position.  Each is stepping backward onto the leg that is farther from the other partner (back cross steps).

Pivot the follower to the left before the next step.

5. Right open side step / Left back cross step
6. Left forward cross step shortened (looks like the follower's cross in the basic, but the leader is doing it here) / Right open side step
7. Right open forward step-Sacada / Left forward cross step
8. Left forward cross step Sacada / Right open side step

Note: We have executed a molinete.  The remainder of the sequence will be identical to Steps 3 through 8 of the original basic.  The notes for the asterisks in Step 11 are the same as for Step 5 in the original sequence.

9. Right forward cross step / Left back cross step
10. Left open forward step / Right open back step
11. Right open side step shortened * / Left forward cross step shortened **
12. Left open forward step / Right open back step
13. Right open side step / Left open side step
14. Left open side step shortened (weight change) / Right open side step shortened (weight change)

Explanation of the Modified Sequence

Steps 1, 2, and 3 are identical to steps 1-3 of the 8-count Basic.

Step 4 - We break the standard pattern. The leader pivots the follower to the right, and then the leader and follower both execute a back cross step. Now we can explore the possibilities of this new position.

Step 5 - The leader initiates a turn (molinete) by leading the follower to take a back cross step with her left leg as the leader takes on open side step with his right.

Step 6 - A touch of flair. As the follower takes an open side step to the right (continuing her turn), the leader steps over his right foot with his left in a motion similar to the follower's cross in the basic.  The leader transfers weight onto the crossed left leg.

Step 7 - Sacada. The leader executes a parallel system sacada (right leg) to the follower's left forward cross step.

Step 8 - Sacada. The leader executes a parallel system sacada (left leg) to the follower's right open side step.

Steps 9-14 are identical to steps 3-8 of the basic, i.e. walk to the cross and resolve.

All of the steps in this new sequence are executed in the parallel system.

First, we interrupt the standard 8-Count Basic with parallel back ochos. Then we convert the follower's ochos to a molinete with two sacadas (to the forward and side steps). We return to Step 3 of the traditional basic and move through the cross to the standard resolution - simple, elegant, creative, and fun.

Using the principles of Method 4, we can modify and enhance the Basic Salida in countless ways.


Conclusion

I hope that this discussion has illustrated the utility of a methodology for analyzing and notating tango movements. We notated and modified the Basic 8-Count Salida as a demonstration of Tango Nuevo's principles in action. It's interesting to note that the resulting step does not have a particularly new look.  It looks very traditional. The methodology can be used to generate steps in any style.

I realize that this post is not an easy read. It might require some time and some practice to understand the material covered here, but that understanding will help your tango grow in new and exciting ways.  

Remember, the harder you work, the more fun that you'll have!

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2013 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved

Tango As Equals

The Secret to Making Every Tanda Enjoyable

I was busted. Caught red-handed. And it was a rude awakening.

It happened during the warm-up dance at the beginning of a workshop. The experienced followers were already paired up. I ended up dancing with a lady who, in my opinion, was not up to the level of the class.

I was disappointed and even a little bit angry. I felt cheated. "I didn't pay money to dance with a beginner," I thought.  "I hope that I don't get stuck with this woman for the entire class."

Reading these words now, they sound mean-spirited, selfish, and profoundly unkind.  As difficult as this is to admit, that's how I felt at the time.

The teacher, whom I admired and respected greatly, pulled me aside. "What's wrong with you?" she asked sternly.

"What do you mean?"

"I can see the disappointment on your face." Her eyes burned into me with the intensity of a Marine drill sergeant.

I opened my mouth, but I couldn't say a word.

"NEVER let me see the disappointment on your face."

I was shocked and embarrassed. It was difficult to hear those words, such harsh and unexpected criticism. But I realized that the teacher was right.  I was being selfish. I was inconsiderate, condescending, and patronizing toward this innocent follower. I was being a real... well, we won't use that word.

Dancing As Equals

Tango can happen only between equals.

I'm going to write that statement again, because it's very important.  Tango can happen only between equals.

I don't mean equals in terms of experience, talent, or training.  I mean equals in terms of the contract to which we agree when we enter someone's embrace.

It doesn't matter if one partner has twenty years of experience and the other took their first lesson yesterday.  They can still dance as equals.

It doesn't matter if one person is athletic and graceful and the other struggles with aches and arthritis.  They can still dance with equals.

Dancing as equals means sharing a pace and a level of movement that both partners can share and enjoy comfortably.  It implies a level of acceptance, understanding, and mutual respect.

Dancing as equals does not suggest that there won't be any mistakes or stumbles or surprises in the dance.  Argentine tango isn't about perfection.  It's about communication and emotion and shared experience, a warm and supportive experience where 'mistakes' are accepted as a natural consequence of exploration.

The Contract

Tango occurs ONLY when we dance as equals. Only, only, only, only, ONLY when we dance as equals. Anything else is not a tango. It's movement without purpose, action without meaning.  It's a cold, uncaring exercise that's likely to result in physical discomfort, bruised feelings, or both.

When we enter the tango embrace, we enter into a contract:

"I'll be here for you if you'll be here for me. I won't go too fast or ask for too much if you promise to respect my limits as well. My goal is for us both to enjoy these moments together, to explore and discover our collective potential, to establish a meaningful emotional connection even if it's only for a little while.

"I'm not here to rehash techniques and sequences that I have memorized. I want to experience the spirit of tango and the inspiration of passionate music with you in real time, wherever that takes us. I hope that this is your objective as well."

That's it. That's the contact. It's clear, and it is achievable by any two people who enter into it with the proper attitude. The only question is, are we prepared to do that?

Mistakes To Avoid

1. Never show disappointment on you face, in your words, or in your body language. Your partner can feel your frustration even if you're not criticizing them out loud.

Emotions are not invisible. The stress between you and your partner will be perceived by everyone in the room. People who have never danced a tango in their lives will recognize what's going on.  Don't put yourself or your partner into that position.

2. Never push or coerce someone to go beyond their limits. They might be inexperienced. They might not have good technique. Accept it and deal with it. They are not going to become a better dancer by having someone criticize them or push them around.

3. Never enter a dance with the idea that you're doing someone a favor. That's the most condescending, demoralizing thing that you could do to someone, particularly someone with less experience, someone who desires to learn and to get better and who probably looks up to you.

It's better to decline (or to not ask) than to subject someone to an attitude of superiority.

4. Never let a dance - ANY dance - continue once it becomes physically uncomfortable. Struggling and wrestling with a partner isn't tango. It isn't even judo. At least judo is beautiful.

If your partner is not respecting your limitations, or if they are making you physically or emotionally uncomfortable, don't stay out out on the floor. Excuse yourself politely and take a break. You don't owe that person anything - you paid the same admission fee that they did. No reasonable person at that milonga will think less of you for stepping out of an uncomfortable situation.

5. If you can't bring yourself to dance with others as an equal, regardless of their level and yours, please just stick with partners who match your level. Never submit a partner to the emotional torture of dancing with someone who doesn't appreciate them. 


This post is dedicated to my good friends Chris and Tony and Rob. Each of them personifies tango egalitarianism in its purest form.  Thank you, my friends, for setting such effective examples for the community!

¡Buena suerte amigos, y muchas gracias!

Daniel

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