Most of the tango classes that I have taken over the years were structured around a sequence of steps and related movements. The teacher demonstrates the sequence at beginning of the class. Next, they'll show the first few steps in isolation so the students can attempt to replicate the movements.
The students practice this section of the sequence by repeating it over and over with various partners. The teacher observes and offers corrections and clarifications. Their comments may include tips or an explanation of technical details that are important to executing the sequence.
When the teacher feels that the students have made progress, they continue on to the next part of the sequence. This process continues until the end of the sequence is reached or until class time expires.
A Note On Terminology
Sequences are sometimes referred to as patterns, combinations, or simply steps. These terms are used interchangeably. I'll explain below in an appendix why I prefer to call them sequences.
Why Are Classes Structured This Way?
The simple answer is that this is what students expect. They want to learn a sequence of steps that they have never seen before. They feel that this is the best way for them to expand their dance vocabulary. (It's not, but that's another matter.) The students picture themselves performing the sequence at an upcoming milonga and hopefully gaining attention if they perform it well.
You can't fight the tide. Students expect to learn sequences, and if you don't give them what they want, eventually, they'll stop coming to class. Other topics, even important topics like musicality, simply won't hold the interest of the average student for very long.
The Pros of Learning Sequences
All hope is not lost. Sequences are effective teaching tools. A sequence provides a framework for introducing and discussing important techniques. When a technique is introduced in context, it's easier for the student to remember it.
A sequence also provides a framework for discussing musicality, floor craft, quality of movement, and other essential components of the dance.
A well-crafted sequence is an encapsulation of dance logic. As students repeat sequences, they absorb important techniques and concepts, even though they might not fully understand those concepts.
And, as mentioned, students expect to be taught sequences. They feel a sense of accomplishment when they can perform the sequence by the end of class. When the students are happy, they keep coming back and working on their dance technique. Obviously, it's not good for their progress if they get bored and stop coming to class.
Sequences are indispensable building blocks in the process of learning to dance. Learning a dance without studying useful sequences would be like learning a language without studying common phrases. But this highlights the limitation of sequences as a teaching method. A language student won't be able to converse fluently if their study is restricted to the memorization of phrases. They need to be able to adapt their responses dynamically to meet the demands of different situations. The same principle applies when learning to dance.
The Cons of Learning Sequences
A class where students repeat the same sequence over and over again can be particularly unpleasant for followers. Effective following requires the ability to react in the moment to unexpected variations in the lead. Repeating the same sequence for fifty-five minutes isn't helpful.
A sequence-oriented class can provide followers with an opportunity to focus on technique. Even so, the value of repetition to followers is questionable. Can followers assimilate techniques effectively in an environment where the lead is predictable? In other words, will they be able to execute those techniques when they are following the leads of different partners at the milonga?
The Argentine tango in its ideal state is improvised and unpredictable. Nothing in tango is more challenging than following an improvised lead. Classes should be structured in a way that supports the development of critical following skills. Sequence repetition falls short of this objective.
Let Them Eat Cake
If a sequence is an encapsulation of dance logic, how much of that logic can be learned through simple repetition?
Imagine that you sign up for a baking class. The teacher gives you a slice of cake at the beginning of class. It's delicious. Then they give you the recipe and help you to bake the same cake.
You feel happy. You learned how to do something that you weren't able to do before. But you learned only how to make that one cake. If you want to learn how to make something else, you'll have to take another class.
An experienced baker doesn't need a recipe to know how to make a different kind of cake. They can make dozens of kinds of cakes, including cakes that no one has ever created before. They can do this because they understand the basic principles of baking.
(The baker still enjoys reviewing recipes from other bakers. They'll do this to pick up new ideas. But they don't depend on having someone show them how to bake things.)
Where do tango sequences come from? Is there a secret encyclopedia of tango movements that's off limits to social dancers? There is a historic tradition of choreography that performers have created over time. Some teachers present steps that they have seen in a performance. But in many cases, the teacher simply creates the sequence from a toolkit of fundamental components.
How does a skilled teacher create new steps on the fly, steps that students will pay to learn? The answer is simple. They understand the components better than the students do.
Ah, but how did they develop this advanced understanding? And can the students develop it, too?
Most tango students beyond the beginner level can learn to understand the principles behind the workings of a tango sequence. Most students can learn enough to begin create not only their own sequences, but full, original choreography. Unfortunately, they're not likely to arrive at this level of understanding if all they do is repeat other people's movements.
An advancement in understanding requires an extended period of analysis and experimentation. Students who simply show up to consume the step of the week aren't going to develop that level of understanding, no matter how many years of classes they take.
Alternatives to Sequence Memorization
Here are some alternative approaches that you can try with your students. They'll still be learning sequences in your classes, so hopefully you won't face an angry rebellion.
1. Variations on a Theme
Teach the sequence, but decide on at least one decision point where an alternative version can be introduced. Have the students alternate between versions. The leaders have to think in real time, and the followers have to pay attention and follow a lead that isn't entirely predictable.
For beginner and pre-intermediate students, I found it useful to develop a coded signal for the leaders. I could get them to lead a particular variation in real time without tipping off the followers. Those classes were always a lot of fun!
2. Super Sequence
Combine a few sequences that they already know into a longer sequence, a mini-choreography of sorts. It adds a degree of difficulty for both the leader and the follower, and students always seem to enjoy the experience. For more advanced classes, ask the leaders to mix sequences randomly. Just don't be surprised if they struggle with this. Again, you can develop a system of coded messages if you feel that the leaders would benefit from some interactive guidance.
3. Sequence On The Fly
Poll the class for ideas and make up a sequence using some or all of the elements that they suggest. This technique tends to generate lively discussions. Most importantly, it helps to demystify the sequence development process. Hopefully, some of the students will come away with the confidence to explore their own possibilities.
Appendix on Terminology
Sequence, Combination, Pattern, Step - These terms are used interchangeably in the tango community. There's no right or wrong way to use these terms - People will usually understand what you mean by context. - Here, I am listing my own preferences for clarity.
I prefer the term "sequence" or "step sequence" because I feel that it describes the concept clearly.
Combination, to me, implies a combination of multiple sequences, like the "Super Sequence" that I mentioned above.
Pattern, to me, sounds more conceptual such as a rhythmic pattern of slow-slow-quick-quick steps in a molinete.
Steps, to me, are more fundamental, atomic movements. A forward step. A step to the side. A back cross step. A rock step. If find it confusing when people refer to an entire sequence as "the step." I find myself wondering, "which step?"
¡Buena suerte amigos, y muchas gracias!
Daniel
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