Pros and Cons of Teaching Sequences

"Just show me the steps!"

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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Keep Working On It

Improvement Happens When You're Too Busy To Notice

I had a wonderful experience a few years ago when a former practice partner joined me for a trip to the milonga. We hadn't seen each other for a couple of years - her job had taken her overseas - but when she passed through New York, we found room in our schedules for some tango.

Our dances together were sheer joy. We always had a natural tango chemistry. I used to joke with her that we could go six months without dancing and pick up right where we left off. Now, even after two years, our partnership was still as smooth and connected as ever.

At one point, when I did a step sequence that we used to practice together, my friend let out an audible "Wow!" 

I was surprised. "We used to do that step all the time!" 

"I know," she recalled, "but it's so much smoother now!"

In my mind, I was executing the step the same the way that I always had. But to my friend who hadn't danced with me in two years, the improvement that I had made in two years of additional practice was not only apparent, but obvious. 


The moral of the story is: Keep working on it!

If it's rough, keep working on it. Focus on what you need to do to improve it, and over time it will get better.

If you think that it's pretty good already, keep working on it. Techniques can always be improved. You won't see the improvement, but your friends will notice when the time comes.

If you think that your technique is already spectacular, keep working on it. The best of the best in every field continue to strive to improve. They work on improving their technique every day. That's why they're the best of the best.


Until next time ... Keep working on it!

¡Buena suerte amigos, y muchas gracias!

Daniel

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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

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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

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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

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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

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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

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