As we study and practice the Argentine tango, our bodies are conditioned to move in specific ways.
We learn to walk with our legs close together (laterally). We relax the trailing leg as soon as we transfer our full weight to the leading leg. When we come to a stop, we leave all of our weight on one leg instead of putting weight on both feet, as the average pedestrian would do.
These movements become automatic eventually. By conditioning our muscle memory to perform in certain ways, we are able to dance with increased ease and fluidity.
Common and oft repeated sequences of steps can become automatic, as well. In some cases, as with the turn (giro, molinete), it can be useful to let our bodies go into auto-pilot mode. However, in other cases, automatic repetition of learned sequences can hinder creative expression and hamper our ability to improvise as a couple.
Ocho Brutito
The ocho cortado is a rhythmic figure that most Argentine tango dancers learn in their first year. The ocho cortado contains an open rock step (either forward or to the side) that resolves to a shortened (cortado) forward cross step.
There are number of ways to execute the ocho cortado. I love to experiment with different variations. A pivot can be added just before the rock. This converts the forward open step to an open side step.
Another pivot can be added just after the open step. This is the moment just before the follower is led to cross. Alternately, the pivots can be eliminated, and the step takes on a more linear shape.
Many followers learn to execute the ocho cortado as a pre-packaged sequence. Sometimes it's taught this way, because the proper lead for the pivots can be tricky and more than some first-year leaders can handle.
The pre-scripted ocho cortado typically includes the pivots. When you lead a follower who has been trained to execute an ocho cortado instead of following the lead for each of the components of the sequence, she'll include the pivots regardless of whether the lead asks her to pivot. She just pivots automatically, filling your embrace with a sort of squirmy feeling.
Experimentation
I like to lead the ocho cortado with unfamiliar partners. I don't enjoy it when a follower executes the figure automatically, e.g. pivoting when I didn't lead any pivots. But I don't hate it either. The experience gives me insight into the follower's skill level and what I can expect from the rest of our tanda together.
On the other hand, when someone follows my ocho cortado sensitively and accurately regardless of which variations I might throw in, I'll fall in love with that person for the rest of my life. :-)
Dealing With It
The Argentine tango world is not standardized. There are teachers who teach in ways that we might not prefer. There are students who learn things one way and never that figures can be varied. There are people who just want to dance and don't want to think about a lot of complicated theories.
We get what we get at the milonga. Some followers will cross automatically when they think that a cross is expected. Others will walk backward forever until we give them a clear lead to cross.
Who's right? Who's wrong? Who cares? Life is too short to bicker. If someone does something that we don't care for, the best advice is to let it go and enjoy the aspects of their dance that do find appealing.
Self Awareness
That said...
If someone would like to become the type of follower who delights the adventurous and experimental leader, I'll offer one small piece of advice from a leader's perspective.
Think about where and when you might be executing movements automatically. Is it possible that some of your movements are the result of assumptions rather than the lead itself?
It might not occur to you when you do something automatically. Practice with a trusted leader friend and ask him to let you know if you drift into automatic pilot mode, even if it's only for a single step.
Liberation
The more of a clean canvas that you can offer the leader, the more artistic and creative he can be as he dances with you.
My all-time favorite partner was extremely open and transparent in this way. She brought no assumptions and no preconceived ideas onto the dance floor. In every moment, she breathed with me, she relaxed and waited patiently in my embrace, and when I lead something, she responded purely, honestly, and almost always accurately.
Dancing with her was pure magic.
¡Buena suerte amigos, y muchas gracias!
Daniel
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