For The Students

A Retrospective

I take pride in the fact that in nearly four years of teaching, I never arrived late for a class. I always gave myself time to relax, stretch, change my shoes, brush my teeth, organize the classroom, set up the music, and warm up before teaching. I wanted to be sharp and ready when the students arrived. It was my commitment to them.

I tried to make each class dynamic and entertaining. I didn't want anyone to feel bored, distracted, or tempted to sit down or browse. I wanted to keep the students' minds active, interested, and in the moment.

I made it to class in every season. I made it in every kind of weather. I taught in the sweltering heat of summer with storms on the horizon. I taught in the cold of brutal winters when the sidewalks were buried in ice and snow. I even taught classes in the shadow of significant natural disasters. 

Those rare occasions when I missed a class occurred only when circumstances were pressing and beyond control - like a critical appointment, or the one unfortunate evening when I slipped on ice and bruised my face.

I took my responsibility as a teacher very seriously. I wasn't content to demonstrate a sequence and stand in the corner while the students repeated it continuously. My objective was not to have them memorize figures. I wanted them to understand what they were learning and why each detail was important.

When the students struggled with a technique, I went back over everything patiently. Or I revised my explanation. Or I demonstrated the techniques in a different way. 

Sometimes, I asked the leaders to lead me to determine whether they were doing it properly. Or I led them to let them know how their lead should feel to the follower. I would try any approach I could think of until all of the students understood the lesson and demonstrated that they could execute the step.

I found that I could get students to break bad habits by exaggerating the "wrong way" to do something. I would do this even it it required making myself look ridiculous. When I heard the room fill with laughter, I knew that the difference had become clear in their minds. I knew that they had not only learned; they had gained understanding.

I paced the lessons carefully to match each group's abilities. Students become frustrated when the material outpaces their ability to grasp and execute it - especially the guys. Leaders need to feel that they are in control. It's important not to over-challenge them or push them too hard. They become discouraged quickly.

I routinely focused on important concepts. I discussed music in every class. I worked hard to explain the role of music to students who didn't have a refined ear or a natural feel for rhythm. 

I discussed and demonstrated navigation and floor craft in every class, encouraging the leaders to think about where each figure or combination would lead them.

I discussed the embrace in every class.

I discussed leading and following in every class and within the context of every figure and technique that was presented.

I offered variations for every figure covered in class. Sometimes, I came up with games to help the leaders run through the variations in real time. This gave the followers a chance to respond to a dynamic lead rather than repeating the same pattern over and over.

I paid attention to every student during each exercise. I made a point to offer supportive, constructive criticism to every student. I encouraged them to correct mistakes right away rather than repeating them until they became habitual.

I encouraged every student, and I encouraged them repeatedly. - Let's just say that my classes were punctuated with a LOT of "high fives." 

I encouraged the more talented students to attempt challenging exercises and variations. For students who learned more slowly, I provided a steady stream of reassurance as they gained confidence and learned to dance more smoothly.

I gave individual attention to every student, but I tried to provide extra guidance and encouragement to the students who struggled the most. Watching these students make breakthroughs was the most satisfying experience of all. It gave me such a thrill when things finally "clicked" for them, to watch them do almost effortlessly what had seemed so difficult for them only a few minutes earlier.

Over the years, I taught in tiny rooms. I taught during noisy events. I while avoiding oddly placed furniture. I taught while children ran through the classroom. 

If a newcomer showed up for the wrong class level, I did my best to make them feel welcome while I explained the basics. If the more experienced students complained about a lack of attention - which happened more often than I would have imagined - I would ask them to be patient with me while I tried to help those who needed extra guidance. Despite having to manage some frustration, I did my best to help everyone in the room.

I planned my vacation schedules around my classes. I tried not to miss two weeks of class in a row. I knew that while I was away, the students would be asked to join a class that was ahead of their level for them. They hated this, and they expressed their dissatisfaction openly when I returned. "It's okay," I assured them. "I'm back. We'll pick up where we left off."

I taught introductory classes at milongas. If someone arrived late, or if there were too many people to fit in the space that was available, I offered to teach a second class. I wanted everyone to have a chance to experience tango and to take away some helpful insights. 

When the students had questions, I listened. I gave them the best advice that I had to offer, and I never contradicted what they learned from another teacher. I suggested that they view tango as a collection of different styles that are sometimes taught in different ways. I encouraged them to learn as much as they could from each teacher.

When a leader complained to me about one of the followers, I spent class time dancing with the follower to make sure that she was doing okay, or to make corrections where necessary.

When a follower complained to me about one of the leaders, I worked with the leader to correct what was driving the ladies away.

When couples argued, I encouraged them to try to dance without speaking. If that didn't help, I separated them with a prompt partner change. 

When only one or two people showed up for class, I led the class with the same level of enthusiasm as I would for a room of twenty or thirty people. If no one showed up, I kept myself warmed up and ready in case someone arrived late.

When the students were ready to graduate to the next class level, I encouraged them and did everything possible to convince them that they were indeed ready. Sometimes, they felt anxious about joining a group of more experienced students. I did everything possible to assure them and even offered that they could come back temporarily if they found the next level to be overwhelming. A few students did come back for a refresher. Their technique improved, as did their confidence.

At the end of the evening, when all of the exercises had been completed and all of the questions were answered, I bid farewell to the students and dashed off to pick up a well-earned slice of pizza. As I waited for the train to rush me back toward my busy life, I felt a deep sense of fulfillment. I knew in my heart that I had given my absolute best to each and every student.

This was my commitment to them. This was my commitment to the tango.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Remembering David

A Warm and Radiant Soul

The New Jersey tango community lost a good friend this week when David Bruce Thomas passed away.

I first met David six or seven years ago at one of the local milongas. He left a lasting impression with his calm demeanor, his broad smile, and the jewel-like twinkle of his eyes.

David was well-spoken and delightfully intelligent. I always looked forward to hearing what he had to say. He had a graceful confidence that enabled him to express his views without ever disparaging others. I admired him so much for that. His genuine, open-hearted personality made every minute spent together special.

David Bruce Thomas, gentleman, dancer, thinker, and a warm and welcoming spirit. His loss is a significant one for the tango community.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Wizards and Ogres - Part Three

As the wizard requested, the ogre pulled the tango dancer away from the edge of the bridge and placed him gently on his feet. The dancer was furious.

"Okay, I've had just about enough of this!"

"I understand," said the wizard calmly. "You're frustrated."

"Oh, I'm more than just frustrated! And I'm not answering any more questions!"

"Understood!" the wizard noted. "Now you are expressing anger. That is a natural and healthy emotional response to challenges."

"Challenges?" shouted the tanguero incredulously. "Is that what you call it? Being assaulted and hung over the edge of the bridge?"

"He didn't assault you."

"Yes he did! And then he nearly threw me into the river!"

"Well, that doesn't really happen," the wizard said. "Not very often, anyway."

"Well, whatever you want to call it - whatever game you two are playing - it just isn't right!"

"What isn't right?"

"Keeping me here against my will."

"We are not keeping you here," the wizard asserted.

"You mean that I'm free to go?" demanded the dancer.

"Well, not exactly."

"So you ARE keeping me here!"

"No, we are not keeping you here," said the wizard. "You are."

"You just said that I'm not free to go."

"And you assumed that we were the ones who were keeping you from progressing forward."

"This is crazy!" exclaimed the exasperated tango enthusiast.

"It is not crazy at all," explained the wizard. "You simply have not grasped the essential truth of your current situation. That is why we are here: to explain to you the natural order of things."

"The natural order of things?" the tango dancer asked coldly. "You mean that wizards and ogres are powerful, so they can push people around."

The wizard ignored the dancer's comment. "You said to us a moment ago that it wasn't right for us to hold you back."

"Yes. It's not right. It's unacceptable."

"Well then, would it be acceptable for us to let you proceed?"

"Why wouldn't it be?" demanded the dancer angrily.

"Because," answered the wizard, "as I mentioned, there is a natural order of things. And the natural order determines what we can and cannot do. A farmer cannot grow a crop in a week, no matter how hard he works in his fields. His efforts will be futile."

"What does that have to do with me?"

"You are progressing on your tango path," the wizard continued. "You have put in a good effort, and you have made significant progress. You should be proud of what you have accomplished thus far."

"Thank you ... I think."

"But your journey is like that of a mariner. When the mariner raises his sails, the wind pushes him forward. But that wind will not last forever. There will be times when he has to change the direction of his sails in order to keep going."

"So, you're telling me that in order to continue, I need to change something."

"Very good!" exclaimed the wizard. "You are catching on quickly!"

The wizard pointed toward the ogre. "Do you see my large friend here?"

"Yes," replied the tanguero. "We've met."

"The ogre is not here to harm you or discourage you. He is here to remind you that progress comes at a price. You are certainly willing to move forward on your tango path. But first you must pay the price."

"Okay, what price?"

"You must answer our question."

"Which one?" asked the dancer. "I mean, I'm not sure which one you're talking about now."

"We wanted you to tell us how you plan to overcome the limitations that you discussed with the first wizard."

"Oh, right."

"It is important to understand your limitations," the wizard continued, "but you also need to develop a plan to address them. Otherwise, the knowledge that you gained on the other side of the bridge will not serve your greater purpose of becoming a better dancer."

"Okay, I understand," said the tango enthusiast. "So, you're telling me that if I can come up with a plan to address my weaknesses, that I can move forward."

"That is exactly what I am saying. But it must be a plan based on an effective strategy. Continuing to do what you have done in the past is not an effective strategy. That's why the ogre reacted the way that he did."

"All right, I understand that," said the dancer. "And I did try to come up with some suggestions, but you didn't like any of them."

"Oh, that's not quite right," argued the wizard. "Actually, we hated them."

"Well, do you have any suggestions?"

"We are not the dancers," the wizard answered cryptically. "You are."

"So, you're telling me that I have to come up with the plan all by myself?"

"It will work best if you are the originator of the plan," explained the wizard. "If someone else comes up with the plan, you can dismiss it when it starts to become challenging. Then you'll wander off and look for someone who will tell you what you want to hear. That won't get you very far, I'm afraid."

"But how am I supposed to come up with a plan to address things that I don't know?" demanded the tanguero.

"Your plan can include consultations with experts, but ultimately, you are responsible. Think it through. Come up with some ideas for each of the weaknesses that the other wizard highlighted. What is the most sensible way to address each one? What steps would you take if you absolutely had to make progress?"

"But what if my plan doesn't work?"

"You'll need to evaluate your progress. If you're not reaching your goals, make adjustments to the plan and try again."

"And that's it?"

"Give us a high level plan now, and we'll send you on your way."

The tango enthusiast took a deep breath. "Okay, so for the technique and the quality of movement, I think I should practice specific movements until they become smoother. And I can use video to get feedback. Is that okay?"

The wizard looked toward the ogre for a second then turned back toward the tanguero. "I think so. He doesn't look angry."

"Okay, and for the musicality, I'm going to watch videos of good tango performances to get some ideas. And I'll set up a consultation with a teacher who specializes in this area."

"Very good!"

"Really?"

"Really."

"For improvisation, that's going to be tough," admitted the tango enthusiast. "I guess I'll start by combining the steps that I know in different ways. Maybe I'll write down sequences of steps in combinations that I haven't tried before and see if that helps."

"That sounds like a good start," said the wizard.

"As for the followers, I guess the main thing is to pay attention to them and make sure that they're comfortable. My embrace has to be comfortable and give them enough room to take their steps. I need to make sure that I'm always moving in time with the music. And I'll avoid steps that any particular lady struggles to follow."

"Excellent!" exclaimed the wizard.

"Is he happy?" asked the dancer nodding toward the ogre.

"Oh, he's never happy."

"I see."

"You have done well with this exercise," the wizard said proudly. "I wish you the best as you commit yourself to the work that you have outlined. If you follow your plan, I am confident that you will make excellent progress."

"Thank you," said the tanguero. "Now that I know what you were trying to do, well, I'm sorry about some of the things that I said."

"No matter!" said the wizard. "Let me just leave you with one parting thought. 

"This is not the last ogre that you will encounter along your tango path. The ones that you meet in the future will be just as merciless and uncompromising as the ones that you met today. They will demand a price from you. If you attempt to move forward without paying that price, they will knock you down and frustrate you. And hear me well - an ogre never tires of giving out punishment.

"When you meet the ogres in your future, resist the natural inclination to become frustrated. Instead, stop. Take your time. Assess the situation. Think carefully about what is being asked of you in that moment, and focus all of your concentration on devising a solution. The solution doesn't have to be perfect, but it must be rational, and it must and show promise. If the ogre doesn't like your solution, he will not let you pass. 

"You can't barter with an ogre. You can't cheat. You can't charm him, you can't trick him, and you can't argue your way past him without paying the price that he specifies. There are no shortcuts on your tango path. But there are infinite magical possibilities waiting for you ... if you're willing to work for them."

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Wizards and Ogres - Part Two

After a contentious exchange with a wizard and an ogre, the tango traveler crossed the foggy river. As he reached the other side of the bridge, he was greeted by a second wizard and an even more frightening ogre.

"Oh, good grief!" the dancer thought to himself. "Not again!"

"Stop!" commanded the wizard. "We have been waiting for you!"

"Um, yeah!" the tanguero said cautiously. "I, um... I already talked to the guy on the other side..."

"Wonderful!" the wizard exclaimed. "If you have made it this far, I have the utmost confidence that you now possess a clear understanding of your limitations."

"Yes, very clear!" the tango enthusiast agreed, nodding his head. He thought to himself: "This is a nightmare!" 

"Excellent! So, why don't we begin by reviewing what you learned on the other side? It will be good for your memory and your concentration."

The tango dancer took a deep breath. "Okay."

"Go ahead when you're ready," the wizard encouraged him. "And please be sure not to leave anything out. The other wizard sent me a full report on my iPad."

"What is it with you wizards and your iPads?" the tango enthusiast asked incredulously.

"We like iPads," beamed the wizard. "They're magical!"

"Yeah, whatever!" muttered the dancer. "Anyway, what I learned on the other side: Okay, I learned that my technique is a little sloppy in places, and I have to work on my quality of movement."

"Good!" the wizard said gleefully. "What else?"

"I need to work on becoming a better improvisor."

"Okay..."

"I have to find some way to understand music better. And I have to figure out how associate it with my movements. I think that's probably my biggest weakness."

"Well, it's good that you realize that."

"And of course, there are a some advanced techniques that I still need to learn, but the other guy didn't seem to think that they were very important."

"That's fine," the wizard assured him. "Anything else?"

The tanguero thought carefully about how to phrase the last item on his list. 

"I learned that the most important thing of all - especially when I'm at a milonga - is to make sure that whatever follower I'm dancing with has a good time. Even if she's not a good dancer, I have to figure out a way to make our time together meaningful and give her a tanda that makes her happy."

"Excellent!" shouted the wizard as he smiled brightly. "You have gained great insight!"

"Thank you," the tanguero responded cautiously. Even the ogre seemed to be pleased, or at least not as intimidating as he had seemed from the bridge. But the dancer wasn't about to take any chances.

"Now then," the wizard announced. "We do have something to discuss with you."

"Oh boy!" thought the dancer. "I hope this goes better than the last time."

"Tell us," said the wizard, "how you intend to improve upon the weaknesses that you just mentioned."

The tanguero hesitated. "I haven't really had time to think this through."

"Take all the time that you need," the wizard said. "We may even be able to help you."

"Okay," said the dancer. "Well, I guess maybe I should take some more private lessons."

He was startled when the ogre let out a growl.

"What's that?"

"What's what?" asked the wizard.

"Why did he growl?"

"Perhaps he didn't like your answer."

"Why didn't he like my answer? I mean, if I want to improve, I should take more lessons, right?"

"Perhaps," mused the wizard. "If you can find a teacher who is willing to develop a course of study that targets your individual deficiencies, and if you can commit to working with that teacher over the course of several months, then yes, lessons will be helpful.

"But if you go to someone who just teaches you a step for an hour - and then you forget that step in a few weeks, which is probably what will happen - that isn't going to advance you very far."

"Okay," said the dancer. "I see your point."

"What other approaches might you try?" asked the wizard.

"Well, I'm hoping to go to some tango festivals this year. I think that might be a good learning experience."

The ogre growled more loudly this time.

"What is it with him? He's growling again."

"He's growling for a reason," said the wizard. "That might not be the best course of action in your case."

"Are you telling me that I won't learn anything at a tango festival?"

"Oh, quite the contrary!" insisted the wizard. "One can learn many things at a tango festival. You'll be exposed to new ideas and new teaching styles. You'll have the chance to dance with a host of new partners. All of that could be helpful in some way."

"So, what's the problem?" the tango enthusiast demanded. 

"The problem is that your deficiencies are not caused by a lack information. They are rooted in your inability to fully utilize information that you already have attained."

"Okay. I guess I can see your point."

"You'll need to dedicate yourself to improvement over time," the wizard explained. "A weekend festival goes by so quickly. It will be enjoyable, certainly. It probably will be interesting. The material and the ambience may inspire you. But spending one weekend going to workshops and milongas is not going to help you address your fundamental limitations."

"Okay," said the tanguero. "Well, I already take classes twice a week, and I go to milongas on the weekend when I can. I guess I'll just keep doing that and try to improve over the long run."

The ogre lunged forward suddenly and grabbed him. "Wait! Put me down!" screamed the terrified dancer. But the ogre refused put him back on the ground. Instead, he flipped the man upside down and dangled him over the railing of the bridge by one leg.

"Put me down!" the dancer screamed. "You people are CRAZY!"

"I would caution you not to make him more angry than he already is," warned the wizard. "I have seen him throw people into that river; sometimes they don't come back out."

"Come on! Put me down! PLEASE!"

"He'll put you down in a moment. But first I want you to think about something."

"Are you nuts? I can't think about something while I'm upside down!"

"Well, think about this. How are you going to improve if you keep doing the same things that you have been doing all along?"

"I don't know! Oh my goodness! Just put me down!" 

"It's okay," the wizard said to the ogre. "You may set him down. And please do so gently! I would like to talk with our friend a bit. We'll see if he can come up with some better ideas now that inversion therapy has had a chance to refresh his perspective."

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Wizards and Ogres - Part One

Know Thyself - Even If It's Painful

A tango enthusiast was enjoying the progress that he was making along his unique path through learning the dance. He studied every week. He practiced whenever he could. He went to milongas as often as was practical. 

Along the way he discovered a deep love for the tango and for the social world that surrounded it. He enjoyed discussing technique with his fellow dancers. He relished spending time in the embrace of sensitive followers as they moved together to beautiful music. He derived a great deal of satisfaction from learning new and challenging material.

One day, as the tanguero was working his way along his normal path, he arrived at a bridge. At the entrance to the bridge stood a bearded wizard and a huge, hideous ogre.

"Stop!" commanded the wizard. "We have been waiting for you!"

"What do you want?" asked the somewhat confused dancer.

"We have an important question to ask you."

"Okay, what do you want to know?"

"Do you understand your limitations?" the wizard asked cryptically.

"You mean, in tango?" the dancer asked.

"Yes, your tango limitations," the wizard clarified. "Do you understand what you'll need to work on in order to move forward from this point?"

The tango enthusiast thought for a moment. "Well, I want to learn volcadas and colgadas. I haven't had a chance to study those yet, because where I study, they only do them in the advanced class. And back sacadas. Hopefully, I'll be moving up to those classes soon."

Suddenly, the ogre lunged forward and gave the enthusiast a shove so forceful that it knocked him off his feet and sent him rolling along the ground.

"What was that for?" the enthusiast demanded as he climbed back to his feet and dusted himself off.

"Your answer was not satisfactory!" scolded the wizard.

"But I told you what I didn't know."

"Think harder!" commanded the wizard.

"Okay, um, well, I took a class in musicality once, but I didn't really understand what the teacher was trying to get us to do. So, I guess I'll have to work on that."

"Do you even understand what musicality means?"

"Not really."

The ogre roared and lunged toward the dancer again. The wizard intervened just in time to prevent another attack. 

"You are making him angry!" warned the wizard. "You need to tell us the TRUTH."

"I did tell you the truth," pleaded the enthusiast.

"You didn't tell us everything," the wizard said. "Think harder!"

The tanguero was clearly shaken and was having trouble concentrating.

"Maybe this will help," said the wizard as he pulled an iPad out of his robe. "We have some video of you dancing at a recent milonga. Observe! Tell us what you see!"

"Um, okay, well, I guess it's not too flashy, but I don't know that many steps yet."

"You don't have to worry about steps if you are improvising," the wizard stated. "Are you improvising here?"

"A little," admitted the tanguero. "I'm not really good at it yet."

"I see!" exclaimed the wizard. "What about quality of movement?"

"Uh, I look kind of stiff," answered the tango enthusiast.

"I see! What about technique?"

"Well, it looks fine on some steps, but it's definitely awkward in other places."

"Aha!" exclaimed the wizard. "Now we're getting somewhere!"

"Can I go now?" asked the clearly frightened tanguero.

"Just one more question," said the wizard. "Look at the follower. Does she look as though she is enjoying her dance with you?"

"Mmm, no, she looks kind of detached," admitted the dancer.

"She doesn't look happy?" asked the wizard.

"Not OVERLY happy ... I guess."

"And why is that?"

"Well, I remember her," recalled the dancer. "She wasn't very good."

The ogre howled and tossed the man to the ground more forcefully than the first time.

"Why wasn't this follower happy?" demanded the wizard.

"I ... I honestly don't know," admitted the now very sore tanguero.

"Yes, you don't know," repeated the wizard. "And that is the entire point of our discussion today. Here you are, parading through tango land like some privileged prince, thinking that everything is going well. You don't even understand the most basic elements and responsibilities of tango.

"You don't have good technique. You don't appreciate quality of movement. You don't understand music. You don't know how to improvise effectively. And worst of all, not only are you incapable of treating a follower to an enjoyable tanda, you don't even recognize when you have failed them!

"So, I'll ask you one more time: Why wasn't this follower happy?"

"I ... I'm not sure," admitted the dazed and desperate dancer as he picked himself up off of the ground for the second time. "I dance with other ladies, and everything is fine. It just wasn't very easy with this one."

"I strongly advise that you not anger my large friend here with talk like that!"

"Well, what am I supposed to do?" asked the tango enthusiast crossly. "Dance with every follower?"

"Yes!" cried the wizard. "When you ask a woman to dance with you, you take responsibility for her and for what happens to her on the dance floor. When she accepts your invitation, she puts her trust in you. Remember that she arrived with the same love for tango that YOU feel. Taking care of her - and reinforcing her love for the dance - that is all that you ever need to do. 

"You won't need colgadas to make a follower happy. You don't need to impress her with back sacadas or fancy combinations. You need to make sure that she feels better after her dances with you than she did when she accepted your invitation. And guess what? You FAILED! This is your one and only responsibility when you are at the milonga, and you failed."

"Okay! I get it," said the dancer. "I understand."

"What do you understand?"

"I understand my weaknesses."

"Well, that's good!" the wizard exclaimed cheerfully. "Then, you may proceed!"

"I can go?" asked the dancer as he warily eyed the ogre.

"Yes," replied the wizard. "And perhaps you should hurry before he becomes angry with you once again."

The dancer walked cautiously past the wizard and the ogre and began to cross the bridge. He had to make his way slowly, however, because dense fog was rising up off of the river below. Eventually, the fog thinned, and he was able to see the far side of the bridge. There, waiting for him, stood another wizard, and an even bigger ogre.

"Stop!" commanded the wizard. "We have been waiting for you!"

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Get To Class Early

Why You Can't Make Up For Lost Time

This is a simple idea. Get to class on time. Better yet, get there ahead of time so you can be warmed up and focused and ready when the instructor starts the lesson.

So, why would I bother writing about such a mundane topic? Because it's important. I'll explain why in a moment.


A Widespread Problem

Have you ever noticed people rushing into the classroom or dance studio at the last minute? Have you ever seen people changing their shoes, checking messages, chatting, or socializing while the instructor is already presenting material? This happens a lot.

Sometimes students arrive after the class has already started - five, ten, fifteen minutes late - maybe more. This isn't unusual either.


Time Pressure

Hey, I get it. I understand. We're all busy. Some of us attend classes after work. It's not always easy to depart from your place of business or finish a meeting with a client in time to arrive early for an extracurricular activity.

We may have families and children to manage amongst other responsibilities. It's not easy to leave your loved ones when they're dealing with some minor crisis. (Of course, if it's a major crisis, just stay home. You can catch up on the material another time. Devoting time to your family when they need you is a no-brainer.)

Traffic delays are common. Public transportation doesn't always run on time. The weather can slow everything down. That, plus your dog probably ate your homework.


The Importance Of Being Punctual 

Classes and workshops tend to follow a progressive flow. This won't be true in every instance or with every teacher, but in my experience, this is how most classes are run. 

What do I mean by following a progressive flow? Teachers present material, concepts, and/or exercises in the first few minutes of class with the expectation that they will build on this material as the class moves forward.

In order to build on the material that's introduced in the first few minutes, the students have to be ready to absorb and work on that material. People who are chatting or rushing to put on their shoes won't be fully focused. The guy who arrives seven minutes late because "traffic was horrible" won't see the exposition of the material, and he won't have a chance to practice the first exercise or two enough to make sense of it.

That's the problem. What can we do about it?


Making Up For Lost Time

Let's talk about those late arrivers for a moment. How can we manage them?

Option 1 - Explain and demonstrate the material all over again when the late people arrive. 

This means that the rest of the class has to wait for the late arrivers to catch up instead of moving on to more material that they (the on-time people) are now ready to handle. 

Even if we do explain and demonstrate the material for the later arrivers, they won't have enough time to assimilate it as the rest of the class moves forward. They'll feel frustrated. This problem multiplies itself if even more people arrive even later.

Option 2 - Let the on-time students practice for a song or two while you take time out to explain things to the late arrivers.

At best, this will be challenging. You're going to be explaining things to them in the corner of the room while the rest of the class is busy doing something else.

 You won't be able to give the on-time students as much focus as they deserve, because the late arrivers now demand your focus. And the late arrivers still won't have enough time to practice the material before moving on.

Option 3 - Just move forward. Focus your energy and attention on the people who were committed to arriving on time. If the late arrivers can't catch up, they can repeat the class or schedule a private lesson in order to catch up. 

Of course, they're going to be annoyed. They paid the same price for the class as the on-time students, and they expect to walk away with an understanding of the material. They don't see any reason why you can't take time out to catch them up on the material. (At least, they didn't until they read Options 1 and 2 above.) 

They don't want to pay extra money for an hour of lessons just so you can show them something that you explained five minutes ago. And you know what? They have a point. If you overlook the needs of your latecomers more than a few times, and they'll leave your school and look for instruction elsewhere.

The important idea is that it's not possible to make up for lost time in a way that will work effectively for everyone. Students need to be present and ready from the beginning of the class if they want to get the most out of the material. If someone arrives even a little bit late, it's not possible to straighten that out without inconveniencing someone. It's that simple.


Being There

I understand this problem from all sides. I have a habit of running late, and I was never terribly punctual about getting to my tango classes. At the time, I didn't realize the kind of problems that this could cause. So, I'd like to apologize to my teachers for being a pain in the ass.

My perspective changed when started teaching. I realized quickly how challenging it is to catch the late people up on the material when the early people are ready to move forward. It's not a fun situation for anyone.

That said, in the four years that I taught tango classes, I was late only one time - and by "late" I mean that I walked into the studio at the time that the class was due to start. I needed to take a couple of extra minutes in order to change my shoes and use the restroom before starting the class. Luckily, this happened only once. 

I made it a point to arrive at my classes early. I made it a point to be there well in advance of the arrival of my students, to be focused and ready to go when they were. I factored in likely delays due to traffic and weather, so I was rarely surprised by a delay that I couldn't manage. It's possible to be on time or ahead of time EVERY time if you commit yourself to it.

It is worth the effort? Yes, and not just because it makes things easier for your teacher. It will make things easier for you. We learn better when we don't feel stressed or hurried. 

If you pay for a one hour class or a two-hour workshop, why not get the most out of that time? Why put yourself through the stress of trying to catch up when you can simply be there from the beginning, see all of the demonstrations, and participate in all of the exercises?

No matter who your teacher is, make sure that you arrive on time for class. You'll get so much more out of the experience.

And remember what they say: "Five minutes early, is five minutes late."

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

My Biggest Failure

To Come So Far And Be So Close

Students progress at different rates. Some people pick up new movements with ease, while others have to work harder and put in more time to reach the same level of competence and fluidity. 

That said, the vast majority of students make steady progress over time when they show up and put in the effort. But occasionally we encounter a student who struggles to execute the simplest movements or grasp the most fundamental concepts.

These students are highly motivated. They want to learn. They want to make progress. They show up week after week and try as hard as they can. Unfortunately, sometimes they end up trying too hard. Their work ethic actually creates roadblocks to their progress.

One lady stands out in my memory. She was so nice, and she tried so hard. But she struggled simply because she wouldn't let herself relax and respond to the lead. She seemed to be convinced that she had to execute the steps and sequences actively. She wouldn't just relax and let the leader take her on a ride. 

I encouraged her constantly. I spent a lot of time with her in the class; I could see the other leaders becoming frustrated with her, and I didn't want her to feel their judgment. She felt badly enough already. I could see the disappointment and frustration in her face.

"Forget the step," I would tell her. 

"Just relax and move with me." 

"Go where the lead takes you." 

"Follow my shoulders."

"You have plenty of time. Just relax."

"Abandon the plan and just dance."

Eventually, after months of encouragement, my struggling student finally made a breakthrough. She finally relaxed and let herself respond to the lead. It was an amazing experience for both of us.

"You see?" I ask. "It's effortless."

"It is!" she replied enthusiastically.

You should have seen the look on her face. She was glowing. She did so well that evening that I asked her to dance with me for the closing demo of the class. Her transformation was amazing.

She came back the following week, and we shared several smooth, flowing dances together. She danced as though she was floating on a cloud. I was so happy for her.

The school closed for a couple of weeks during the holidays, and that closing was followed by a period of bad weather.I didn't see my student for while. When she returned a month or so later, she had reverted to her old habits. She struggled as though the breakthrough had never happened. 

I was confident that I could work with her and encourage her to get back on track. Unfortunately, for whatever reason, she returned only once more. I never saw her again after that.

I don't know what happened. Perhaps she grew weary of the frustration. Maybe someone criticized her. Maybe she simply decided that tango wasn't for her, that it was too challenging.

It broke my heart when I realized that she wasn't coming back. I wish that I could have inspired her to stick around for a little bit longer. She had her breakthrough, and it would have happened again with a bit more time and encouragement. 

But it wasn't to be. All of my encouragement and reassurance wasn't enough to inspire her to continue. It was my biggest failure as a teacher.

I always tried to understand each student's individual needs and provide them with personalized instruction. The students who stuck with me always made progress. I'm so proud to watch those students today. They dance beautifully.

But no one's breakthrough meant more to me than this one. This lady struggled so hard for so long. To watch her finally dance and flow in the moment. That was very, very special. I hope that she remembers those dances as fondly as I do.

Hers was a difficult journey. I sympathize if she just didn't want to work that hard anymore. But I hope that she'll give the tango another chance one day. Because I know that she can do it. 

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Sloppy Tango 2 - The Waste of Haste

How Rushing Can Destroy Your Tango

"Take time for all things: great haste makes great waste." - Benjamin Franklin

Benjamin Franklin never saw a milonga, and that's too bad because he would have loved tango. He would have loved the boundless expressive and emotive qualities of the dance. He would have loved the geometry of the steps. He would have loved the passionate, brooding music. And, he so would have enjoyed sharing long, sultry nights in the embrace of lithe and capable women in Paris and his native Philadelphia.

Ah, Ben! What you missed, old friend!


Haste Makes Waste

As Franklin observed, bad things happen when we rush. Very bad things happen to our tango technique when we rush our movements. I'll explain why in a moment, but first a word of caution.

Rushing is an equal opportunity problem. I have seen experienced, skilled dancers at milongas make an absolute mockery of tango technique by rushing too quickly through steps. I'm sure that these people thought that their dancing was impressive, and in a way, it was: impressively hideous and brutally uncomfortable to watch.


The Four Stages Of A Movement

Every elemental movement (step, gancho, boleo, barrida, etc.) has four components.

1. Intention/Preparation - Preparing mentally and physically to move.

2. Initiation - The start of the movement.

3. Travel - The body of the movement where most of the distance is covered (if applicable).

4. Resolution - The conclusion of the movement where the dancers return to a neutral and (typically) balanced position.

If we take a forward step, we prepare to move, we initiate the movement, we move through space, and then we reach a point where we are balanced and our feet are collected.


Breakdown Of The Problem

Consider the Forward Ocho. You learned in your second or third Beginners' class and probably haven't thought much about since. The simplicity of the ocho sequence coupled with its dependence on pivots makes it susceptible to distortion by rushing.

The Forward Ocho sequence is a repeating pattern that consists of a forward step followed by a pivot. 

Note: The forward step of the ocho is very simple. It doesn't contain any sweeping, curling, or pivoting components or any boleo or planeo like adornments. It's just a simple forward cross step. (It's called a "Cross" step, because you're stepping across the line of your forward intention, but don't worry about that if you're unfamiliar with the term.)

As described above this simple forward step has four parts: intention, initiation, travel, and resolution.

What happens when we rush through an ocho? To be more precise, what happens if the leader begins to lead the pivot before the follower completes these four stages of her forward step?

It's simple. The follower is forced for pivot before her body is balanced on her axis. That result is that she is trying to pivot while she is leaning to the side. This is a difficult and uncomfortable movement to execute.


The Fix

The fix is simple. Don't lead the follower to pivot until she completes her forward step and arrives on her axis.

But, the difference is HUGE: a poised, controlled, flowing ocho versus a stumbling, tilting, uncomfortable off-balance mess.


Other Steps That Can Be Ruined by Rushing

The Molinete - The follower needs to have time to arrive on axis and bring her feet together cleanly before making her next movement, be it a pivot or a step.

Ganchos - Ganchos require proper timing and alignment. Either or both can be corrupted by rushing.

Boleos - Boleos are interrupted ochos, so the same off-axis problem applies. Also, the musical timing of the snap of the boleo movement will be off if either partner tries to rush the movement.

Paradas - The follower can trip if the parada is placed too early.

There are others, but you get the idea. 


Slow Down and Enjoy the Dance

Finish each movement completely and cleanly before moving on. When in doubt take more time rather than less. If you note stumbling in your dancing, check for situations where technique is being rushed.

Keep your technique clean. You'll be less sore and less tired at the end of the evening, your dancing will look better, and you'll have a lot more fun.

Until next time, keep what's important in mind.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved