Ganchos and Back Sacadas

Overcoming Technical Challenges Safely and Effectively

If you have been dancing the Argentine tango for a while, you have probably been kicked in the leg by a partner who was trying to perform a gancho or a back sacada. Perhaps you were the one who kicked your partner. No judgements. We'll talk about how to prevent this in a moment.

I have attended workshops on back sacadas where the followers protected their shins by wrapping them with thick magazines. They knew that there was a high probability of being kicked in the leg. I have danced with men in classes, and I have been kicked so hard by poorly aimed back sacadas that I saw stars at the moment of impact.


Preventing Pain

How can this pain be prevented? Let's understand the cause in order to find a remedy.

Imagine that you are watching a couple dancing, and the follower kicks the leader in the lower leg as she attempts a gancho. If you could magically roll back time to just before the gancho was attempted and freeze the couple in that position, you would see their bodies were not in the proper position. The leg did not have a clear path. It was aimed at a bone instead of an open chamber of space.

In this magic scenario, if you could walk over to the frozen couple and adjust their body positions to create room for the gancho, you could "press play" again, and the gancho would work beautifully. No one would be injured.


Practice Carefully

The good news is that improving gancho and sacada technique does not require magic. It requires cooperation. At a practica, or in a practice room - not at a milonga - you and your partner can agree to practice your ganchos and sacadas carefully.

Step 1

Practice the gancho or sacada from a stationary position. Move to a quiet corner of the room where you don't block the flow of traffic. Do not try to dance your way into it, as you may not be ready. Line your bodies up, and when you're both ready, slowly, gently, try to movement. Perform the gancho or the sacada. Did you have enough space? If not, make adjustments and try again.

Step 2

When the movement feels really good, effortless, painless, and FUN, you are in the right place. At this point, capture a three-dimensional mental snapshot of your position with relation to your partner. This is your target. This is the "SWEET SPOT", the place where you want to be in your dance before you launch the sacada or the gancho. 

- Where are the hips in relation to one another?

- Where are the torsos in relation to one another?

- Where are the thighs in relation to one another?

- Are the legs bent? How much?

- What modifications were required to the embrace if any? Does it feel comfortable?

If you can get yourself into this exact position, you'll be able perform the gancho or the back sacada safely with very little effort. But if the position feels even a little bit off, don't attempt the movement. You don't want to run the risk of hurting your partner.

Step 3

Dance with your partner and try to get the sweet spot. Agree in advance that you or they will NOT attempt the gancho or the sacada. Just practice getting to the right spot. Do this several times over the course of several songs. Repetition will crystalize the position in your memory. This will help you to build confidence and know that you can get to the position whenever you want to. 

Step 4 

Dance your way into the position, and let the movement fly. Do this carefully at first. You don't get extra points for the ferocity of the movement. Focus on getting to the right positions first. The ability to get into the right position is more important than executing the movement. Be controlled. Be aware of your partner's position. And always know that you have the right to put the brakes on the movement if it doesn't feel right. It's better to abandon the attempt than to take a chance of hurting someone.


An Effective Approch To Practicing

You can use this same careful, deliberate approach to anything that you would like to improve in your tango technique or any other dance or discipline that you are studying. 

- Analyze the problem out of time. Don't try to fix it "on the fly" or expect that it will just magically get better over time. 

- Start by determining the ideal body relationship for the movement that you want to perform. (Your teachers can help you with this.) 

- Memorize the position of the bodies and practice getting to that point until you can do so comfortably and reliably.

- Get into the right position and try to execute the movement carefully. 

- As you build confidence in your technique, try to go get into this position from multiple approaches.

- When the technique is comfortable, mix it with other movements in creative ways.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2018 The Exploring Tango Blog

www.exploringtango.com

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Effective Tango - Synchronization

Let's Get Together

One of the elements that makes the Argentine tango so beautiful is the level of synchronization between partners. When the leader and follower's movements are well synchronized - in terms of timing, energy, quality - their dance projects an intimate and appealing quality. They look as though they are enjoying each other, and they probably are.

On the other hand, when the synchronization is off, the dance looks awkward and tentative. There may be some stumbling and bumping, some stopping and starting and apologizing. When you watch a couple struggle like this, you can be pretty sure that they're not having a whole lot of fun.

How can you make synchronization work for you? How can you make your dance look smoother and more polished while having more fun with your partners?

First of all, you have to think about it. You can't just assume that things will take care of themselves. You have to be aware of timing - including the timing of the music. And you have to focus on this actively while you are dancing or practicing.


Leader Tips

If you're a leader, you have to know when you want to step. You have to know when you want your follower to step. And you have to communicate that timing information effectively through your lead. 

Also, please make sure that you always give the follower enough "lead time" to execute the movement. No one can move instantly. Communicate your intention early enough so she'll have time to respond to your cues.

How do you know if you're leading effectively? Because your follower is in sync with you. She moving precisely when and how you want her to! - Don't get discouraged. Practice makes perfect.


Follower Tips

Focus on the lead. Is the leader encouraging you to move not just in a particular direction, but at a precise instant in time? If he is giving you timing information, please don't ignore it. Feel it, embrace it, and work with it.

Oh, and I hate to say this, but it has to be said. Some leaders will NOT give you adequate timing information. They may be unaware that they should be doing so. In that case, try to execute all movements in time with the music. Hopefully, the leader is aiming to do the same, although that's not always the case (sadly).

Finally, it's never a good idea to perform any step automatically. If you do, you run the risk of ignoring the leader's timing suggestions, which will only discourage him. As an example, many followers get used to crossing at one speed and the cross at that speed all the time regardless of what they lead is communicating.

It helps to be a little obstinate as a follower. Think: "I'm not going to move unless you move me." Make the leader work for his dances.


The Music Factor

All of this is going to go much more smoothly if both partners are actively listening to the music and trying to move in concert with its rhythms and phrases. That said, musical interpretation and awareness is a big topic, and it's challenging for many people. But you can improve. The most important thing is to pay attention to the music while you are dancing. 

Let the orchestra be your tour guide as you travel around the floor. Those guys are working very hard to create beautiful music for you. Please do them - and your partner - a favor. Listen to that music. Find its timing and move with it instead of against it. Everyone will be happier. Even the people sitting and watching will be happier when you and your partner and the orchestra are all in sync.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2017 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

Teaching The Cross (Cruzada)

Fundamental Challenges

Ah, Argentine Tango! You don't make anything easy for us, do you? Even your most fundamental step sequences contain technical elements that will keep devoted students sweating (and cursing) for years!

The cross (Cruzada) is a good example. This common and widely performed movement is part of one of the first sequences that beginning tango students learn (the 8-count basic or salida).

If you're not familiar with the term, the movement itself is easy to visualize. While walking backward, the follower momentarily crosses one foot (usually the left) over the other, transfers her weight onto the crossing foot, and then takes a step with the foot that is now free of weight.


How Hard Can It Be?

It's fairly easy to show someone how to cross their free leg over the weight-bearing foot and transfer their weight to the crossed leg. In my beginner classes, I used to have the followers practice these movements until they could execute the cross several times in rapid succession. Most people can do this after a few minutes of practice.

But here's the root of the problem. If you teach the follower to cross her legs automatically at a specific point in a sequence, she's no longer reacting to the lead, at least for that moment. What if the leader wants her to do something else at that time, something less typical? She'll do what she was been trained to do instead of following the direction of his lead. Expectations will be missed, and spirited discussions may ensue.

The leaders will have their own challenges. If you teach followers to cross automatically, the leaders aren't learning how to lead that movement. The lead for the cross is tricky. Learning to lead the cross effectively requires lots of practice, lots of trial and error with followers who have their teacher's assurance that they can provide honest feedback in class and at practicas. 

Followers who cross automatically won't provide the level of feedback that leaders need in order to improve. When the feedback says, "Hey, look! I'm crossing. You must be doing it right!", the leaders assume that everything is working properly.

When those leaders go out to the milonga, and the followers there don't cross as expected, the leaders will become frustrated. Typically, their lead will force the follower to continue to walk backward.


Balancing Student Expectations With Their Capabilities

The solution to all of this sounds straightforward. Just teach the students to lead and follow the cross. Teach them to do things right from the beginning. Unfortunately, that may not work either.

Leading the cross is challenging and may be too much for some beginners. It's important to encourage beginner students. If you give them material that's too demanding, they may give up and stop coming to classes.

Further, students come to class with the expectation that they are going to learn step sequences. If you focus the class on exercises but don't let the students take away "moves" that they can demonstrate for their family and friends, they'll feel frustrated, and they may not return to take more classes.


Weighing The Alternatives

One approach, and many teachers prefer this, is to just go ahead and teach followers to execute the cross automatically. Yes, this leads to all of the problems and frustrations listed above. Dedicated students eventually will need to revisit the technique of the cross and learn to do it properly if they want their dancing to progress to higher levels. At least the beginners will be happy, even if they aren't leading and following fully.

Personally, I don't care for that approach. I don't want students to develop bad habits that they'll have to revisit and un-learn in the future. The cross isn't impossible. I've taught the technique to lots of beginners. It did take some patience on their part as well as mine, but we got through it, and they were better dancers for the effort that they invested.

My approach was to defer teaching the cross for a few weeks. There are lots of other topics to cover in those early classes: walking to the beat of the music, walking together in a comfortable embrace, leading and following weight changes and side steps, rock steps, forward ochos, and simple patterns built from these components. 

After two or three weeks, most students will have the skill and confidence required to start working on the cross, not as a step in a memorized sequence, but as yet another step that can be led and followed from anywhere, even from simple parallel or cross system walking in the line of dance.

In the following sections, I'll break the lead for the cross down into its component parts and discuss common problems and prescriptions for their resolution.


Technique for Leading The Cross

The lead for the cross has three components. Each component has to be led at the right time and with just the right amount of emphasis. 

1 - The line of dance component that leads the follower to continue to walk backward.

2 - The lateral component leads her to move her center of gravity sideways (in the direction of her right shoulder). This is what encourages her to cross over the other foot.

3 - A brief but well-timed pause in the movement gives the follower a moment to transfer her weight onto the crossing leg. 


Typical Problems and Solutions

1 - If the line of dance component of the lead is too long or too forceful, the follower cannot cross. 

Symptom: The follower has to take a step backward, or she'll risk falling to the floor. She can't even fake a cross.

Solution: Leaders, think of the cross as a step that's half of the length of a normal walking step. Make your own step short, and don't ask the follower to step back too far. When the step is the right size, the cross will come much more easily.

2 - The lateral component isn't long enough. 

Symptom: The follower steps beside her standing foot without crossing it. 

Solution: Leaders, think about leading her belly button to cross (laterally) the toes of her standing foot. That image should give her enough impulse to cross over to the other side.

3 - The pause isn't well timed, or it's not long enough.

Symptom: The follower will seem rushed or off balance at some point. The exit from the cross will be rough.

Solution: Leaders, be aware of each follower's pace or movement. Not everyone crosses at the same speed. Advanced followers will tune into the lead for clues as to how quickly or slowly they should cross, but less experienced dancers will move at their own pace. Be aware of when they change their weight. Never move until they have completed the transfer. When in doubt, slow down.


The Value of Instruction

Teachers need to weigh their students needs and expectations. Many times we are called upon to teach tango to a roomful of people who have never danced before and who are unlikely to pursue the dance beyond that event. In these cases, do what you can to encourage them and to show them a good time. You don't need to break down the technical components of each movement.

But when you work with students who are eager to learn and who plan to spend more than a few weeks in your classes, it's best to err on the side of doing things the right way. I don't want to look a student in the eye and tell them that I took money from them while teaching them short cuts that were fun but were of limited utility. 

I assume that students come to classes to learn and to improve over time. I prefer to teach them in a way that will support their long-term development rather than showing them fun bits that won't do much to help move them forward. 

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2016 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

   

Sloppy Tango 1 - Stumbling

Lacking Stability

I see the same mistakes year after year at milongas and practicas. It's difficult to watch, because in many cases these are simple problems that could have been corrected with awareness and a small amount of effort. 

I realize that most tangueros are social dancers who dance for fun. That's wonderful! I want them to HAVE fun. I want them to ENJOY their time on the dance floor regardless of their level of experience. I want them to walk out of the building at the end of the evening feeling confident and energized. 

When are you more likely to feel confident and energized? When you're dancing well and your technique is flowing smoothly? Or after an evening of struggle, discomfort, and disappointment? 


Opportunities For Avoidance

There are three ways to deal with a challenge: Quit, Avoid, or Improve. 

Some people quit. They decide that tango isn't worth the effort anymore, so they more on to other activities. It's sad when people give up on something that once promised so much joy and fulfillment.

A more common way to deal with challenges is to avoid acknowledging them or to avoids taking responsibility for their resolution. We might be tempted to blame others for out difficulties. 

"There are no good dancers around here. I have to go to Milonga X to find good people to dance with."

"I'm not coming back to this milonga. The people are rude, and the music is horrible."

"I stopped taking their classes. The material wasn't advanced enough for me."

 I hear comments like this quite frequently, and I'll bet that you have, too. 

Avoiders are prone to change teachers frequently, jump prematurely to higher level classes, or abandon a neighborhood milonga. None of these choices are inherently bad. But until the person takes responsibility for addressing their own developmental needs, improvement will come slowly and be largely coincidental.

Here's a hint. The quality of your dancing begins with YOU. You'll never outrun your weaknesses. Never. They'll follow you to your last day on Earth unless you face them and take corrective action. Avoidance won't get you to where you want to do.



It Begins With Awareness

Awareness is the first step toward improvement. Maybe by writing about the widespread issues that I'm seeing, I can inspire some folks to strive to change.


Stumbling Blocks

Awareness Exercise Número Uno - This is the single most common technical problem that I see at milongas. I see lots of followers stumbling from step to step instead of moving gracefully with confidence and clarity. Foot placement is hesitant and unsure, as if the follower isn't clear as to when and where to take the step. Movements are tentative and lack smoothness and expression. 

Sadly, this is a widespread problem. I see it everywhere I go. But why is this happening? What is the root cause, and how can it be addressed effectively?

I'm certain that every lady at the milonga walked into the salon smoothly and confidently. And I'm certain that they'll walk beautifully when they leave at the end of the evening. Why is it that they can't walk smoothly and confidently when they're dancing in the embrace of a gentleman?

To be fair, the gentleman might be contributing to the problem. Leaders knock followers off balance with some frequency. The leader's embrace might be interfering with her posture at a critical moment. Or the man's lower body might be too far forward, causing the follower to trip over his feet. The timing of his steps might be inconsistent with the timing of his lead.

But we can't always blame the leader, because it's not always his fault. Sometimes the followers fail to take care of their own stability. They rely too heavily on the embrace for support.



A Simple Test

Ladies, sometime when you have a chance to practice with a leader who's willing to work with you patiently, ask him to lead a short sequence of tango steps in three different levels of embrace. 

First, run through the sequence in the full embrace. 

Now, try the sequence again, but this time let go of each other on the closed side of the embrace. This means that he is not holding you with his right arm, and you are not holding him with your left arm or hand.

Are you still able to execute the steps? Is it more difficult to dance without the full support of the embrace? Do you find that your balance is challenged at one or more points within the sequence?

For the third try, separate a bit further. Now, your only contact point will be your right hand in the leader's left. Don't worry - you won't have to dance like this in a milonga - this is only an exercise. But in order to do the exercise successfully, you'll need to manage your own balance. Your legs will need to support you completely.

Can you do it?

Try the whole three-stage exercise again with a different step sequence. Start in the full embrace. Try it again without connection in the closed-side arms. Then, try it a third time with contact only in the open-side hands.

Ideally, a follower should be able to execute most tango sequences without relying on the leader's frame for balance. There are exceptions, of course, which cannot be done without support from the partner (volcadas, colgadas, lifts). But you should be able to do most steps smoothly and confidently while supported by your own balance.

Please remember that this is only an exercise. Dancing like this in a milonga is not recommended. The embrace is important, and we should use it to its fullest benefit while we're dancing.

But followers shouldn't depend on the embrace for stability. Stability begins with our own legs and hips even when we are dancing very close to our partner. In order to step confidently in response to the lead, the follower needs to feel stable within the structure of her own body.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

   

Why Feedback In Class Is A Big Deal

A Perspective On Teaching Styles

Some years ago, I signed up for a bunch of tango classes at a respected school in my area. They had a program where you could pay one price and take as many classes as you'd like. It seemed like a good deal. I was eager to work hard and learn as much as I could.

I knew some of the teachers from previous classes, but some were unfamiliar to me. It turns out that one of them was very well known in the tango world. I didn't realize this when I signed up. I had been dancing for two or three years, but there was still a lot that I didn't know about the scene. 

This particular teacher - we'll call her Miss Big Deal - attracted a lot of students to her classes. Space in the room was tight but not unmanageable.

The classes followed the standard "one sequence per week" format, where the students spend an hour learning a single, moderately intricate series of movements that are meant to be performed together. The teacher explains the sequence in chunks starting at the beginning. The unspoken objective is to get through the entire sequence by the end of the class and hopefully pick up some technical tips along the way.

This isn't my favorite format for learning - for a whole host of reason that I'll save for another blog post - but it's very common. In my experience, most classes by most teachers follow this format. As a student, you deal with it and try to learn and remember as much as you can.


A Non-Learning Experience

After years of classes, I find it fairly easy to learn a new step sequence. The teacher instructs the class to do A-B-C, so I do A-B-C. They ask us to add D-E-F, so I do. Unless one of the steps in the sequence presents a technical challenge, or unless it goes poorly with multiple partners, I tend not to ask many questions. I figure that the teacher needs to spend their time with the students who are struggling.

That said, I do appreciate when a teacher passes on an occasional tip or insight. Technique can always be improved. Ideally, the teacher will notice something that I'm doing incorrectly or ineffectively and mention or demonstrate how I might go about improving it. Even in a fairly large class, it's possible to pass on a bit of feedback to each student.

Miss Big Deal didn't offer much advice. She made no attempt to wander through the class offering suggestions to individual students.

Miss Big did spend time with couples who asked her for help directly - typically those who were having a hard time learning the sequence. I applauded her for spending time with them, but she didn't share any information from those discussions. There was no follow up announcement to clarify for the entire class a point that one or two students had raised.

On two occasions, I was able to get Miss Deal's attention. I asked her to help me understand why something wasn't working. She would motion for us to execute the sequence, watch silently for a few seconds, and then walk away without making a comment. The expression on her face was one of utter disinterest.


Seeking Answers

I probably shouldn't have wasted my time in that class, but since it was part of a package deal, I kept at it for five months. During that time I received no feedback from this teacher, none whatsoever. No feedback was offered spontaneously. No feedback was given when I asked for it. 

I might have tried to ask a few more times, but there was a constant frenzy for her attention in class, particularly from a handful of people who seemed to require explanations for everything. I wondered how they managed to arrive at the school on time without her explicit direction.

Undeterred, I went to the front desk one day and asked whether I could schedule a private lesson with Miss Biggie. They informed me that Miss Deal's private lessons were booked solid for months in advance and that cancellations were rare. I couldn't even BUY feedback from this highly-regarded expert.


For The Record

The class was effectively a complete waste of my time. I forgot the sequences nearly as quickly as I learned them. There wasn't much discussion of technique as we memorized those soon to be forgotten steps. Occasionally, she would mention a mistake to avoid. Corrective feedback was of course, non-existent. I didn't even see her offering words of encouragement.

In all fairness to Miss Big Deal, however, I would like to mention a more positive experience. I took a weekend seminar with her a few months later. The information presented was well organized and helped me increase my understanding of tango significantly. I didn't receive any feedback, of course, but it was still a valuable educational experience. 


The Importance Of Giving Feedback

I give feedback to every one of my students in every single class.

Why? Because I care about their progress. Because I want them to become better dancers quickly and directly, not haphazardly. Because I want them to get some value for the time and money and effort that they have invested into their time with me.

I let each student know, in a gentle and supportive way, where their weaknesses are and where they'll need to focus their efforts in order to improve.

I try to catch students in the act of making a mistake, even if I have to ask them to repeat a movement a few times. I want them to understand the problem as it occurs in real time. 

I'll demonstrate the proper technique side by side with the way that they were doing it. I want the difference to be absolutely clear in their minds so they know WHAT they'll need to practice and WHY it's important.

Feedback is absolutely critical to the learning process. Why do people take classes for years and not make much progress? It's probably due to a lack of feedback. If you don't know what you're doing wrong, you're not going to fix it.

If you want to be happily mediocre for the rest of your life, don't bother to look at the details. Just keep doing what you've always done. But if you really want to improve, the quickest and most effective way is to address your weaknesses.

Feedback is a big deal. I'm not a big deal. I don't have private lessons booked solid for months in advance. But I know that I have helped every student who has walked into one of my classes with even a modest desire to improve to do so. I coached them, I encouraged them, and I helped them to become a better dancer than they were when they walked in the door that day. That might not be a big deal, but it's good enough for me.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2015 The Exploring Tango Blog

www.exploringtango.com

All Rights Reserved

   

Filling Technical Gaps

Basic Steps To Better Tango

Technique is built in layers over time. A strong foundation supports the ability to execute advanced techniques, while a weak foundation inhibits progress.

Our foundational technique can have weaknesses for a variety of reasons. First of all, everyone is different. We all have varying levels of ability in different technical areas. One person might move gracefully but lack balance, for instance. Another person might be musically expressive but lack quality of movement.

A particular teacher might spend more time on one technique and less on another depending on their own biases or the preferences of their students. Or they might not explain certain techniques well.

As I suggested in the last post, students who are eager to move ahead to higher class levels might not spend enough time on foundational material.

Whatever the reasons for the technical challenges of any individual student, just about every advancing dancer will profit from a refresher in fundamentals at some point in their development. 

Working on fundamentals is not a sign of weakness. Professional dancers work on fundamental technique all the time, all the way down to basic walking. Professional athletes work on fundamental technique. Basketball players shoot free throws at every practice. Golfers work obsessively on their swing. Professional musicians work on fundamental technique practicing scales and arpeggios religiously.

If fundamental technique is important to the people at the top of each of these disciplines, why wouldn't it be important to anyone and everyone who is still in the developing stages?


A Commitment To Your Own Development

I'm going to suggest two approaches that you can use to improve your fundamental technical skills. The first is an ongoing approach to practice. The second you can undertake as a project when you have time.


1. Practice Fundamentals

Set aside at least ten minutes at each practice session (on your own or at an organized practica) to work on fundamental techniques: walking, ochos, molinetas, boleos without the support of another person, etc. 

Focus on clean technique. Focus on posture and a relaxed frame (no tension). Use a mirror or a video camera to see what's working and what needs improvement.

You can squeeze these exercises in during sets when you don't have a partner, but I would suggest that you do them right at the beginning of the session so you don't run short on time. 

Don't get discouraged if this turns out to be more difficult than you expected. Stick with it. You'll discover quickly how important these exercises are as you begin to see improvement in your dancing.


2. Retake Classes At The Fundamental Levels

If you are an Intermediate or Advanced student or an experience social dancer, consider taking Beginner and Pre-Intermediate level classes as a refresher. Do this for a period of at least 12 weeks continuously if you want to get the most out of the exercise. That doesn't mean stopping by occasionally over a three-month period. It means showing up and doing the work week after week.

If you're thinking right now that this would be a complete waste of your time, you might be right. If you show up with the wrong attitude or if you fail to work hard, it will be a waste of your time, and you'll be an annoyance to both the teacher and the students.

For instance, if you stride into class like some self-important Baron von Tango who's going to treat the beginners with an opportunity to dance with you, you've already failed. The beginners were doing just fine without you, and they have a teacher to show them what they need to know. 

You are here to work on your own technique. Let that be your focus.


The Rule Of 20

It is at least twenty times more difficult to execute a technique cleanly than it is to do it in a sloppy or arbitrary manner. What happens when you do something that's twenty times more challenging than what you've been expected to do before? You get stronger. You get better. 

It's enough for the beginners to just get through the step and gain some understanding of the techniques involved. As a more experienced dancer with a desire to improve, you need to hold yourself to a higher standard. Execution isn't your goal; perfection is.

You won't reach perfection, and that's okay. But you need to push yourself toward that ideal. That's why simple techniques like the backward ocho are worth repeating. As we push toward new levels of accuracy and fluidity, even techniques can become quite challenging.

Watch the teacher as they demonstrate to the class. Try to match their quality of movement and the expressiveness and nuance that they put into the move. The teacher will give you pointers from time to time. Take everything that they say seriously. A teacher in the middle of a busy class doesn't take time to make a comment unless they feel that it's in your best interest to hear it.

If you would like some inspiration as you work your way through the fundamental level classes, watch videos of your favorite tango performers. Watch how gracefully and elegantly they perform even the simplest technique. This is your new standard. And that is precisely why repeating a class on fundamentals will NOT be a waste of your time if you approach it with focus, dedication, and humility.

Now get to work. :-)

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2014 The Exploring Tango Blog

www.exploringtango.com

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Argentine Tango Quick Tips - Embrace

Optimizing Comfort and Functionality

Imagine that you're walking down the street with a small child. You hold the child's hand to keep them beside you and away from hazards. 

Anytime you approach a potentially dangerous situation - an intersection, a passing dog, or if the child tries to dash away from you - you can respond by increasing the pressure on their hand, and if necessary, by adding tension to your arm. 

However, most of the time your arm will be relaxed, and the pressure on the child's hand will be only as much as is needed to maintain connection. 

If you can stretch your imagination and picture yourself as the child in this situation, you should feel a sense of assurance from the hand of the adult. If the grip is too tight, it will feel domineering and unpleasant. If it's too loose, it will feel as though they're not paying attention and they might slip away.


The Embrace

This is an effective analogy for the optimal level of muscular engagement in the tango embrace. 

The embrace needs to be comfortable and reassuring. It should never feel domineering or unnecessarily rigid. Nor should it feel flimsy, disconnected, or unsupportive. 

Look around the room at your next milonga. I'll predict that the quality of the embrace will vary somewhat from couple to couple. 

Some embraces will seem rigid, while others seem more relaxed. 

Some dancers will seem to be comfortable within the embrace of their partners. Others, less so.

You might see an embrace that looks as though it's restricting the movement, causing stumbling awkwardness.

Someone might be pulling their partner closer or holding them rigidly at a fixed distance. What would change if these dancers relaxed some of that muscular tension?

You might notice a follower who uses her partner's embrace in order to steady her balance from time to time. What might change in the embrace if the follower were able to maintain her own stability?


Optimizing the Comfort Zone

I've written about the embrace before, and I always come back to the same set of terms: comfort, reassurance, functionality.

First and foremost, the embrace has to be comfortable. 

It has to be a place where you're like to spend some time. No one ever wants to feel dominated, manipulated, clung to, squeezed, knocked off balance, or pushed around.

The embrace has to be functional. 

Improvisation and creative expression require freedom of movement. It doesn't do any good to hold onto someone so rigidly as to impede their movement, interfere with their axis, or to block them from putting their feet where they need to step.

And the embrace has to be reassuring. 

The follower needs a certain degree of connection in order to feel the lead effectively, but she needs to be able to move freely within the embrace. The leader needs to feel enough connection to sense how the follower is moving so he can make any necessary adjustments in real time.

Maintaining a good embrace requires a fine balance or strength, skill, and sensitivity, but it's critical to seek that balance actively with each partner and in every moment of the dance. The payoff is worth the effort.

¡Buena suerte, amigos, y muchas gracias!

Daniel

Copyright © 2014 The Exploring Tango Blog

www.exploringtango.com 

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Simple Steps for Better Following - 7. Do More With Your Legs And LessWith Your Arms

Part 7 in our "Instant Gratification" series for Followers.

Do More With Your Legs and Less With Your Arms

I was in trouble.

On my first attempt at rock climbing, I clung desperately to the wall. Within minutes, my forearms went numb. When I couldn't hold on any longer, I let myself fall to the mercy of the waiting rope. Climbing seemed impossible, and giving up was humiliating

The problem was simple. I was doing too much work with my arms and not enough with my legs.

Two weeks later, I went back to the gym and scampered effortlessly to the top of the wall. I repeated the climb several times. Suddenly, I was having fun doing what had once seemed so difficult.

What changed? Somewhere over the course of those two weeks, my body figured out how to stand on those little bumps. Once I began to support my weight with my legs instead of hanging on for dear life with my arms, climbing was a breeze. Well, at least it was on the beginner's wall.


Draw Power from the Lower Body

A dancer's power resides in the thighs, hips, calves, and core. This is your engine. Engage the powerful muscles in your lower body. Let them work for you. Let the lower body control your movements and establish and maintain your balance.

If you find yourself struggling with your arms - hanging, pulling, pushing, clinging, or manipulating - you're working against your own body.

Relax your arms. They should feel as though they are floating. Your arms should not move you or support you, nor should they move or support your partner. That's what legs are for. Use you arms to create a comfortable embrace and to establish connection.


The Cappuccino Analogy

The base of a cappuccino is espresso, a strong, dense coffee loaded with caffeinated energy. On top of this base is a light, frothy foam produced by running steam through a cup of milk.

Ideally, your legs should emulate the espresso. Let them be powerful and energetic.

Your arms should emulate the foam. Let the be light and airy and never tense

In Practice

Be aware of your arms and shoulders as you dance. Whenever you feel strain, tension, or any unnecessary muscular activation in the upper body, try to relax this area. Simultaneously engage the strong muscles in your core, hips, and legs. Let your "engine" do it's work so the upper body can relax. 

Use your upper body to establish a gentle connection with your partner. Use your lower body to control movement and balance.

Follow these guidelines, and your dancing should improve noticeably.

Note: This guideline is equally important for leaders. Work the thighs and the core, gents, and let those arms and shoulders relax!
 

¡Buena suerte, amigos, y muchas gracias!

Daniel

Copyright © 2014 The Exploring Tango Blog

www.exploringtango.com 

All Rights Reserved