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Follower Technique 2019

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Notation: This Tango Topic was originally written on June 3rd, 2016. It has been updated and expanded.

Follower Technique

For most Followers the words “Follower Technique” boils down to 5 things (minus adornments and embellishments): 1.) Posture. 2.) Embrace. 3. ) Forward Steps. 4.) Side Steps. 5.) Back Steps. Sometimes this line of thinking may cover the concept of Body Position (where one is in relation to the Lead) and beyond that even, Body Placement (what one does with that Body Position – e.g. vocabulary) within the construct of the embrace (e.g. how to stay in front of and then with your Lead). The thinking usually stops right about there. Most Follower’s, and even Leads don’t even consider that Walking-in-Opposition, then Disassociation, and then finally, Applied Disassociation as a basis for Follower Technique, and why it’s an important piece of the equation in certain pieces of Tango Vocabulary (such as Traveling Ochos, or the Follower’s Molinete). Today’s Tango Topic deals with explaining this stuff and then going a little deeper with these things. It should be noted that just because the title is “Follower Technique” that the Lead should tune out because there’s nothing here for you. And that would be flat out wrong! This topic is not just for Followers looking for a hint, any hint, that could boost their understanding. It’s also for the Lead wanting to understand what the Follower has to do in order to stay with them. So without Further yapping, Tango Topics Presents: Follower Technique.

What is ‘Follower Technique’? In its simplest form, it is a series of skills that when put together create a ‘dancing platform’ for the Follower. This is a platform that the Follower builds into their body through painstaking, detailed, carefully crafted motions that consists of: How to walk forward, side, and/or back; What one’s stance or posture should be like and under what conditions it may change; How to embrace and where and why;  What Close Embrace wants to be; What Open Embrace wants to be; Where and how the Follower has to be in relation to their Lead, within the different embrace types (‘Close Embrace, Open Embrace, Vee Embrace, Open Vee, Closed Vee, Berlin, etc) so that they’re always…always…always in ‘front of’ their Lead;  How to land the foot; How to extend the leg; Where the knee bend occurs;  Why one would ‘open’ one’s hip and under what conditions;  How to generate a slight open ‘v’ with the feet, and when, where, and why one would want to do that….just to name a few. For most people when they hear the phrase “Follower Technique” they think ‘pretty’ feet or most people think of Follower technique as just the Follower’s Back Step or a Forward step in the Molinete, and everything else just sort of works.

That’s not true.

Follower Technique is an economical, efficient, movement platform that is based on decades-old work, that many Followers have passed down from one Follower to another, who have been out social dancing within the Milonga experience. And then taken that social dancing knowledge and refined it, honed it, made it their own.

Follower Technique can go a lot deeper…a lot deeper! In Deeper Follower Technique, the Follower studies all three of the three primary steps and then takes it to a whole other level. Truly, Deep Follower Technique is all about the detail, it is all about the precision. And lastly, but not the least of which is that it’s all about the execution! Yes it is learning about to use one’s feet in relationship to the structure that is Argentine Tango, but it is also about learning how to use one’s body in an efficient, economical, and elegant way that accentuates themselves as well as their L/lead and what’s being done, while at the same time keenly aware of one overriding principle: One Step At A Time! But contained within that step is a monster amount of kinesthetic awareness, body consciousness, physiological history, a corporeal locomotion, muscle memory, tendon memory, nervous system memory, that when executed altogether – creates that one singular step that brings into it all of the things mentioned before.

This is Follower Technique.

Is Follower Technique easy work ? No! Although to listen to some Leads spouting their idea of what the Follower should or shouldn’t do, you’d think it was a cake walk! Ummm in a word, “NOT!”. Is Follower Technique, as a whole, something you can learn in an afternoon ? Possibly, depending on the teacher. But really Follower Technique takes more than a few sessions to work out the bugs (as it were). This isn’t about balance and stability, yes those things are there but there are other things to consider. In the end Follower Technique wants to become rote behavior, second nature, a naturally built-in response, or default but controlled, contained, and conscious behavior in the person that is dancing the role of the Follower. So a better answer to that second question is “NO”. Follower Technique is going to take a while. And anyone that tells you different either hasn’t studied the role of the Follower for very long or is lying through their teeth. The fact is that Follower Technique takes years to get, then to adjust and finally to perfect. And going further down the rabbit hole what works for some people may not work for everyone! In case you were unclear on this part, some people’s bodies are built differently, and that means their anatomical areas may not necessarily line up with what some Amazing Follower Teacher has said and/or shown. So, no, sometimes other ways of moving have to be employed. Follower Technique is not a one size fits all! Some of it is, and some of it isn’t. The part that is confusing about it, is figuring out which one is which! 😉

From a Following Perspective a good portion of Followers do know Follower Technique when they see it. They may not able to describe what they’re looking at, but they are able to recognize it. Unfortunately, that recognition is limited to what they’ve been exposed to. Meaning they’re only able to recognize what they’re familiar with…most of the time. This is a plus and a minus at the same time.

Let’s get right down to the crux of this stuff: ‘Follower Technique’ matters a whole lot on multiple levels, because the correct execution of physiological movement actually improves each and every single step that one takes. Which improves the quality of the vocabulary being executed, which improves the quality of the dance on the whole! One tiny change here, or there, can quite literally change the outcome a dance. It really is that big. So it stands to reason having good, clean, clear Follower Technique is paramount to better responsiveness in one’s dancing.  Put another way: It quite literally changes a dance from ‘meh‘ to ‘omg‘ or sometimes to ‘omFg‘! However that ‘omg‘, or ‘omFg‘, has a lot of gradations built into it for one simple reason: It depends on the amount of study and practice time that the Follower has spent on working their skillz. It also depends on the amount of detailed information that the Follower possess and what materials they’ve been given to study with, and how they’ve been given that information. Further still those gradations also depend on one’s own hyper self-awareness, and more importantly, the level of corrective self-behavior the Follower is willing to employ to change, modify, and/or correct their skillz.

It’s just Forward, Side, and Back…NOT! There’s more to it than that. A lot more to it. And while it is seemingly easy to ‘just‘ follow (As if!). The reality of Following is far greater than those three steps. First and foremost it is learning how to extend one’s leg, and land one’s feet in such a way that allows one to move with ease, while at the same time keeping the partnership together all the while allowing the couple to move effortlessly, but doesn’t feel jerky or bouncy. That right there is a tall order nad takes a while to get. Secondly, then to clean up that walk visually on the first pass, so that the Follower isn’t generating a ‘crab walk’ backward with bent knees, and uncontrolled foot placements, which invariably end up as ‘THUD’. Thirdly, it’s recognizing that the walk is connected to one’s embrace and that if the walk is clean, the embrace does not need to be compressive, restrictive, or pressured, and yes that means NO RESISTANCE, No Tension, No Force is required….ever. Fourthly, at some point along the curve, the Follower recognizes that their own internal stability is based on how they engage in their walk. Too far to one side, or too far to another side of their foot and their wholly unstable. Fifthly they recognize the root of their issues is/are their weight transfers from one ‘step’ to the next, and how they land their foot, and in what position. Lastly, they recognize their own Posture, and how their body moves in space and time in relation to their Lead (this is known as Body Placement). Forward, Side, and Back is just the beginning of this stuff. It’s the tip of a very large iceberg.

Follower Technique is Execution! Probably the single most important part of Follower Technique is it’s Execution. This is the bees-knees as it were. If the execution of how something is done is done poorly, sloppily, or haphazardly, then everything is off. That’s not a joke. That’s reality. Wobbling, Wavering, Wandering in how one executes a step, will result in the entire platform (walk, embrace, posture) being ‘off’. Precision is the name of this game, and the more precise that execution, the more exact it is, the more controlled and contained it is, the more practiced it is, the more it becomes effortless. Alongside that execution is the ability to control the power, and or strength of that execution. Meaning how much effort is required to do X, Y, or Z. And what goes part and parcel with that is a hyper-awareness of what is being led to generate this stuff. If all of that sounds about as fun as watching paint dry think of it this way: It’s a little like walking into a house that one just bought and then realizing that the walls aren’t painted, the floors aren’t safe and will need to be replaced, and the roof leaks! Which ultimately means spending a lot more money than what one spent to buy the house. Not so much with that. So as a result we want to learn to execute our technique with control, power, and containment.

That said there are 5 Guiding Principles of Follower Technique that we want to keep in the back of our minds:

1.) Always, always, always overshoot to underdo! What does that mean ? It means that the Follower must extend their capabilities to their upper limits and then continually expand them beyond what they think they can do. Why ? Because if you can do this stuff in the extreme, then executing something in the minimal will be a piece of cake!

2.) If you have to think about X while it’s happening then it’s too damned late! Meaning ? That if you have just finished a class with Famous Teacher “A”, and then you go out social dancing afterward and suddenly in the middle of dancing with your favorite Lead as they’re leading you to ‘Y’ tango move, you suddenly remember what you ‘studied’ in a lesson with A. Blip. It’s over. Damn it!!! You missed it. Why ? Because you had to stop and think about it to recognize it for what it was. It was a bit off from what said Famous Teacher A showed you, but that was a “Y”! And you missed it. Is it the end of the world ? No, it’s not. But if this continues to happen, it means that you are not prepared. And prepared, in this case, means…see #3!

3.) Practice, Practice, Practice, Practice, and….ummm…wait for it….PRACTICE. What does THAT mean ? Practice means solo practice time. It means that one spends a good deal of one’s time working in front of a mirror, without heels (that’s another point on it’s own) working on how one moves and making it clean, clear, effortless so that you build muscle memory. So that when said Amazing Lead comes along, and they will, eventually, that the Follower is ready for the experience instead of fumbling through it trying desperately to remember what Famous Teacher “A” said…yup, too late all because the Follower didn’t spend enough time practicing. Practicing also means working with a regular series of partners that are diverse enough in their skill sets that the Follower gets a wide range of experience to execute what they’re working on.

4.) Have a plan! This one is so dead simple but you’d be surprised at how many people don’t have a plan. Here’s a good one. Start every Solo Practice session with extensions (in case you’re wondering ‘YES!’, Tango Topics has a video on this idea, several actually), and then spend about a half hour warming up with that stuff. And then going deeper into your regime on Forward, Side, and Back, Body Position, Body Placement, Weight Transfers, Foot Position, Foot Placement. Here’s still another one, start every individual couple practice time with the first tanda doing nothing but ‘walking’. That’s having a plan!

5.) Flats To Start With. Really. These things are your saving grace. On multiple levels. Do your solo work and practice sessions in flats first and foremost. You’ll spare yourself oodles of pain later on down the line. The reality is that the Follower needs to be able to feel the floor, and the heeled shoe (sometimes) obscures that feeling. And sometimes, depending on the manufacture of the shoe, it actually compensates for the stability of a particular movement.  More often than not a heel deadens the sensation of the foot landing on the floor, or the impact of the foot on the floor. A flat does not do those things. The Follower feels the floor and their ability to move across the floor.

What To Focus On ?  The Follower wants to pay attention to these things in sequence:

1.) Posture, Posture, Posture. Learning what it means, from a Tango Perspective, to stand upright without creating rigidity in one’s body or stance. Learning how to elongate one’s spinal column without injury and/or pain. Learning how to lengthen one’s body, how to stand, how and why a slight compression (a micro-bend) of the knee is incredibly important…everywhere! That’s a hint by the way…the rest of this type of information is in the Foundations Video Series. However, one’s posture will affect the next 8 points. Hunch over, and nothing looks desirable. Ramrod straight, and you end up looking like a Robot. We want something in between that is comfortable and maintainable.
2.) The Weight Change, and later on the weight transfer. A weight change is done from a standing or collection position. A weight transfer is done from passing through collection position!
3.) The Leg Extension Begins Where? The leg extension comes from a very specific place, and understanding what that place is and under what conditions, and why is insanely important. As a.) The conditions are not always the same. and b.) The Extension is not always the same under certain conditions.
4.) Extending The Leg. This is actually extending the leg from a static position and working that extension over and over and over again. But more importantly focusing on what that looks like from multiple angles, using video from the side and from the front and back, and not just a mirror. Mirrors can and do ‘lie’ quite frequently. “Lie” isn’t the right word there. More like when you’re looking in the mirror, you only see a moment of time, not the entire thing. And you want the entire movement over time. It is for this reason that the Follower wants to use VIDEO from the side, and front, and back…constantly IN ADDITION to the mirror!
5.) The Shape of the Leg over that same period of time – where the knee must bend, and why, and under what conditions because they’re not always the same!
6.) Landing the Foot, where, and what part of the foot one lands on, and under what conditions. Because again, it’s not always the same. Which may come as a surprise to some of you reading this and wondering what those conditions might be. Here’s a helpful hint: SUBSCRIBE!
7.) The Shape of the Foot in the landing on part 6 above. The reality is that the shape of the foot creates the end point of the step and if that shape looks shoddy, then the extension that created it will look shoddy. 🙁 Shape ? It’s very important!
8.) The Weight Transfer. Now the weight transfer comes into play because more than likely you’re in motion after the first step….and now you need to understand where that weight transfer comes into play and why steps 3 – 7 are insanely important! Because now you’re in motion and while the static positions of an extension are nice to look at, that’s not where the problems come up once you’ve got the extensions down (or so you think), it’s the transition from one element to the next!

Now without going into a lot of detail, that’s what the video series is for, you really do need constant reminders, constant practice, and constant visuals to guide you towards a better way to doing these things. This is, unfortunately not something you can do on your own. You do actually require someone else to, at the very least show you what you need to focus on. Those 8 points above are all fine and good in text, but seeing it is very important…hence the video thing. This is an hour long video series that goes into great depth.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

Class/Seminar Work vs. Video. Work. There really isn’t an either – or. The reality is that the whomever is studying the role of the Follower needs as many reminders, and valid examples of what should happen within the construct of the 3 primary steps as well as the inner workings of Traveling Ochos, the Follower’s Molinete, the Argentine Cross, and that’s just the tip of the iceberg! Class/Seminar work is great for in person, time spent, corrective work. Video work is great for seeing the same work that was done in a classroom setting and giving you a chance to see it again, and again, and again so that you can get every last piece of information you can from what was said and shown.

In this video series, which is ongoing by the by, there are (at the time of this writing) 13 sections that cover mostly what one does with one’s legs, and how we want our legs to appear, as well as how to move them, what to practice, how to land your foot, how NOT to land your foot (Lazy Follower’s Foot), how handle the most troubling aspect in all of Argentine Tango: The Follower’s Molinete, and to make it functional instead of an exercise in pain! However, understand that this video series is also spread out over a wide range of videos that integrate Follower’s Technique into the Movements/Topics on this site.

Heelwork. Working in Flats is all fine and good but at some point, someone or something is going to drive you to want to put on a pair of heels. And that’s where the Follower’s whole world is going to go topsy-turvy all over again. Balance will need to be redone. Stability will be an issue, again. And the embrace will change (slightly) due to the fact that the Follower is now in a pair of 3 in heels!

Heelwork is not easy, it’s elegant, yes….but it is not easy work. It doesn’t happen overnight. It takes time, patience, and a lot of trial and error, lots and lots and lots of errors, to get this stuff just right so that it doesn’t look ungainly, so that all that Follower Technique doesn’t go out the window, while at the same time it isn’t too much a stretch of your physiological capabilities. Truthfully, Heelwork is refining the Follower’s skillset, while at the same time taking it to a whole other level and then adding ‘gracefulness’ to it.

Understand something – Heelwork plays hell with one’s anatomy and in specific the Plantar Nerve! So it stands to reason that we want to ease into heelwork by building up the muscles around the Plantar Nerve in flats and then start working on refining our skills, not being thrown into the deep end of the pool right from the start (learning in heels immediately). And then going one step further (no pun intended), adding style and detail to that heelwork! This is one reason why the Follower works in flats to start off with building up slowly to working towards the ultimate goal of being in a pair of heels.

Who to work with ? The question comes up, can you learn proper technique in person ? Yes. Can you learn less than desirable technique in person ? YUP! And the same is true of video work. What matters is the source of the information and goes right back to picking a good teacher or a knowledgeable source of the skill set. Which brings up another question, does that source have to be a woman ? Answer…No, it does not. It can be anyone that has spent a good amount of time studying the form of either role, gender doesn’t matter. What matters most is how deeply involved that person has immersed themselves in the form. Quite frankly, most men that invest in being a ‘good’ Follower want to be better than the women around them because they’ve recognized that they don’t want to be that ‘girl’ that sits. Further still they want to get it ‘right’, so they’ll invest hours…weeks…months in learning the intricate in’s-and-out’s of Following. Their goal is not to perform, nor is it necessarily to teach, it’s to understand the form as a whole. Truth be told there are more than a few really amazing male Followers in the world and to be quite honest with you, they blow the doors off your run-of-the-mill Followers and more than a few ‘performing’ teacher Followers IMHO.

From a Leading Perspective most Leads (the person) don’t have the skill set, or the language for that matter, to describe, be aware of, or to witness whether or not a Follower is executing proper technique. This is mostly because they don’t dance the role of the Follower themselves. Isn’t it odd that a good portion of them dole out advice to Followers in an attempt to ‘help‘ as to what the Follower should be doing though ? The only thing that they’re truly aware of is whether or not the Follower is in the right place, at the right time, when they asked (or in a lot of cases told, and shoved) them to be. They can sort of tell when it feels good, and they can tell when it’s not. Which mostly boils down to when the Follower isn’t ‘following’ what they believe they were leading. This comprises the Lead’s understanding of ‘good‘ Follower Technique. Honestly, the lot of them could give a damn if the Follower does X, Y, or Z just as long as they do what was led. If they add anything, just make damned certain that it doesn’t get in the way of what the Lead is leading, and for good christ’s sake don’t screw it up! And whatever is done, don’t miss anything!!! Oh and make it feel good while you’re at it. Oh and make it look amazing. Oh and …. if this sounds like a wish list of the Lead, that’s because it is. The reality is that a good portion of them don’t Follow and have no desire to learn to Follow for some reason that could best be described as Male Ego. So as far as Follower Technique is concerned, the only thing they care about is following what was led. Sigh. Sadly, very few have the forethought to appreciate just how much work goes into all of the seemingly magical experience of dancing with the Amazing, Effortless Follower. If that sounds myopic, it’s partially because there’s some (operative word) truth to that, and some hyperbole. 😉 Some Leads do actually care but not about technique, just about the overall execution.

So here’s some sage advice to the Lead that wants to understand Follower Technique:

If you don’t dance the role, then stop giving advice as to what the Follower should be doing, and instead use the following phrase to help them to understand what you’re sensing and/or feeling when they execute what you’ve led: “I feel …” or “I felt this…” and then tell them exactly what you felt by using “I” statements, not “YOU” statements. See the Post on Giving (and Receiving) Feedback.

If they ask you for feedback on the dance floor, at a Milonga. Smile, and say the following words: “I don’t give feedback on the dance floor at a Milonga”.

If they ask you for feedback at a Practica. Employ the Giving (and Receiving) Feedback model stated above, and THEN go find a teacher! 😉

If they don’t ask for feedback, then don’t give them unsolicited feedback even if they’re a beginner and you know how to fix X, Y, and/or Z.

If they’re hanging, pulling, pushing, compressing, squeezing, or anything else that’s bugging the living crap out of you, you have 2 options: 1.) Suck it up! 2.) Keep quiet until the end of the tanda and then say two words, “THANK YOU“. The reason ? Remember something – YOU ASKED FOR THE DANCE! So, therefore, you get to live with the benefits of your choices. Not to stand there in the middle of the line of dance and correct them about what’s bugging you about what you’re not actually leading and they’re having to read your mind.

So what can you do if you want to help the Follower with their Technique ?  Invite them to a private lesson or practica where you know a teacher can help them with their understanding of Follower Technique.

Are you getting where this is going yet ? In other words, keep your opinions to yourself, and actually, go study Follower Technique. It will do wonders for your own dancing skills, and probably create a greater appreciation for dancing the role of the Follower. Any Lead that has made this transition knows this axiom to be true: If you want to be a great Lead, start learning how to Follow! 🙂

About The Video. This video is 2hr:37m:14s in length in 25 sections. Follower technique is the bulk of this video.

Collection – (00:01:19) {Also See “Social Collection”}
Forward Steps – Footwork (00:03:03)

Forward Steps – Extension (00:02:21)
Side Steps – Footwork (00:01:21)
Side Steps – Linear (00:04:02)
Side Steps – Circular (00:03:30)
Back Steps – Extension (00:06:23)
Back Steps – Circular (00:04:26)
Back Steps – Footwork (00:05:48)
“Opening” The Hip (00:04:00)
Posture – Send/Counter-Send (00:05:53)
Molinete – Level 1 (00:13:33)
Backstep Pre-Launch Technique (00:05:50)
Molinete Pre-Launch Example (00:00:39)
Lazy Follower Foot (00:05:46)
Leg Shape (00:08:23)
Weight Change (00:01:23)
Weight Transfer (00:01:34)
Weight Transfer – Weight Change (00:01:34)
Landing The Foot (00:09:09)
Traveling Ocho Technique/Exercise (00:15:32)
Milonguero Ocho Exercise (00:09:38)
The Follower’s Molinete – All the Details (00:21:58)
The Milonguero Turn – Body Details (00:04:43)
The Milonguero Turn – Footwork (00:10:20)
Errors #1 (00:05:06)

Related Videos Mentioned In This Article: 

The Six Ways of WalkingDownload

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Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

 

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Open post

Five Common Lead Errors

Five Common Lead Errors

Today’s Tango Topic is for the Lead. It is for the Lead that wants to see a few tango habits that they may not be aware of. It is for the Lead that is on a pathway towards greater and greater physiological and kinesthetic awareness. It is for the advancing Lead that wants to create a dancing experience that is extremely desirable for their Followers and really for the entire room. If this sounds like you, then read on. If not, then don’t bother with this stuff. Honestly. It’s a complete waste of your time. And no we’re not kidding. Why ? Because what’s above and below is about what some call minutiae, or nitpicking, or being a Tango Perfectionist. And for those that just want to have a ‘fun’ time out social dancing, then these things, as far as you’re concerned are a complete and utter waste of your time. So don’t bother reading any further. There are cute cat videos that await your attention on Facebook that you haven’t seen today.

Also what’s contained in the video above, and what’s in the article below has absolutely NOTHING to do with Follower Technique in any way, shape, or form. There’s no information here for the role of the Follower. However, that doesn’t mean that the Follower should tune out, in fact ideally we want the Follower to tune in here. Why ? So that they can recognize these things when they happen and point them out during practicas and or private practice with their partners.

Today’s Tango Topic deals with 5 of the more common elements that happen for the Lead without involving the embrace. It should be noted that these are not the only things, it just means that we didn’t have time or space to include the entire list here or to shoot them all. To be clear, there are a host of things that a Lead needs to be conscious of in order to create a dance that is desirable. Like for instance:

Embrace (duh).
Kinesthetics (Physiological Pressure)
Posture.
Stability.
Foot Placement.
Walk.
Weight Change.
Vocabulary Understanding.
Vocabulary Execution.
Musical Understanding.
Musical Interpretation.
Musical Execution.
Cabeceo/Mirada.
Floorcraft.

and that’s just the tip of the proverbial iceberg. This listing is just a small taste and by no means the exhaustive list of things a lead has to be conscious of. Nor is the video above meant to be an exhaustive list, more like a brief reminder of things for you to consider.

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That Said!

From the Intensive Process comes Five Common Lead Errors that Tango Topics has pulled from its archives, reshot, retooled, and condensed into byte/bite-sized chunks for easy digestion. It is by no means going to change your dance. Not one little bit. In order for change will only occur, if you put the time in to actively take charge of your tango (re) education. And that means concerted, continuous, near daily reminders about the execution of technique, solo practice, private partner practice, private lessons, and social dancing. It means working on your foundation with clear, detailed, and intricately laid out instruction with oodles of visual, verbal, textual, and kinesthetic examples. Every. Single. Day.

These Five Elements, by themselves, won’t necessarily create a dance that’s unbearable or undesirable for most Followers, but over time, because we’re dealing with ingrained leading habit, these behaviors tend to repeat themselves so it is very possible for a lead to generate an experience that is marred by these things. Thereby creating an experience for the Follower that is less than desirable. 🙁 It should be noted that assuming if you just make these 5 changes that this is not going to improve your ability to dance. Nor will it improve the execution of your vocabulary. Nor will it improve how you hear the music. It will not improve your embrace, or your other habitual errors that you aren’t even aware of! The only way these things will change is with continued, concerted, and detailed study of your movements with a Qualified Instructor of The Intensive Process! These things will only clean up these errors but won’t fix the underlying problem (see the section the underlying problem below).

So without further adieu: Here are 5 Common Lead Errors.

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1.) Stepping Away From The Standing Leg. This first topic is seemingly innocuous. Almost a throw away until you realize that where you step and how you step has monster implications and reactions on the embrace and how your partner embraces you. So put simply, this isn’t an innocuous topic, it’s probably one of the biggest issues on this list aside from the next one. How, and in this case WHERE we step is insanely important. There is a sweet spot to where we want to step. And while the video above shows you one example of where this comes out, what it doesn’t show you are all the places where this can and does occur. So here’s a list of those places off the top of our head: Hmmm….you see only a paying customer gets to see this list, and since you’re not one, not so much with that. However, here’s a tiny taste – Think of the Argentine Wrap and/or Argentine Gancho that if you don’t step into the right position things tend to go awry. We mention these two because they’re the more common places where these things come up. In any case, this is just a small example. But what the video doesn’t talk about is one reason why we want to fix this issue, and it’s the one we alluded to above. Because this can and will affect your embrace. The closer you are to the Follower’s standing foot, the easier the walk becomes. Most Leads tend to blame their Followers for their walk when in fact it’s the Lead’s foot placement that generates the issue of Follower stability for a variety of reasons. Either the Lead is too close, or too far away, which can and will create an instability in the Follower where they’ll either topple forwards or backward. It should be noted that sometimes we’re talking about an egregious amount of space away from the Follower’s standing leg, and sometimes we’re talking about more than a few millimeters.

The Sweet Spot ? As alluded to above there is a sweet spot, the ideal distance, as to where you want to step or place your feet from the Followers, as far as walking is concerned. However, seeing it done and doing it are only 2 pieces of the puzzle. For this stuff to be successful you need to develop your proprioception skills. So that you can feel where your feet are in relationship to the Follower’s at all times. You must be able to feel where the Follower’s weight is at all times. This too is part of the skill of Proprioception that you absolutely must develop and then deploy!

2.) Wandering Giro Center. First a little Spanish lessons: ‘Giro’ is the Spanish 1st person singular verb form, which when translated into English means “I turn”. However, when we apply this to Tango it means that “I LEAD a Turn”. Ok, not really but that’s sort of what it implies. 🙂 A ‘Giro’ is the Lead’s side of the equation of the Follower’s Molinete where the Lead is the center of the Follower’s Molinete, they typically act as the anchor to that Molinete or circle and the Follower revolves around them. So whats a “Wandering” Giro ? It’s the Lead’s side of the Follower’s Molinete but where the L/lead continually moves the center of the Molinete. And in doing so the Follower’s Molinete becomes oblong, construed, distorted and/or a boatload of work for the Follower to actually follow the leads.

Most Leads don’t realize that they’re wandering or moving the center of the circle, and thereby making the Follower work harder than they need to.  Ideally as L/leads we want to stay over one point, however that may be somewhat challenging that you may not be aware of. The reason it’s challenging is because some Leads have their heads down or are watching their Follower’s feet in the turn to validate that the Follower is stepping in the right places. Ideally we don’t want to do this. This should be felt by means of the skill of Proprioception. However, knowing it and doing it, are two very different things. Still another reason has to do with the Lead’s posture and the dreaded ‘head-tilt’. Uuuugh. What’s happened is that the Lead’s sense of equilibrium is a little off due to the Head-Tilt, and so they ‘wander’ a bit in the turn. And sometimes, it’s not a physiological error, it’s a habitual error. They just do it because they don’t know any better.

The reality is that if the center of the circle moves even by a few millimeters, it will seemingly not create a problem. And that’s not the case. Those ‘few millimeters’ are magnified in degrees of the arc or the distance that the Follower has to cover in order to ‘catch up’ with their L/lead. Sometimes this turns into the Lazy Man’s Turn and/or Armpit Dancing! 🙁

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3.) Stepping Into The Middle. This tiny little problem comes up in Sacadas, it’s where the Lead will step in the middle of the Follower’s feet, where they’re expecting a Sacada response (a leg displacement or a clean resolution displacement), and they’ll end up with one of 3 things (note: the video only notes 2 of them): 1.) The Follower ‘hears’ the Sacada step as a Wrap or Enganche. 2.) A sweeping Leg Displacement without a resolution (as shown). or 3.) [not shown in the video] A Rebounding Enganche where the Follower’s leg will rebound off the Lead’s and thereby create, by choice and habitual response, a small circular Boleo! This is not the Follower’s fault. It’s the Lead’s because the Lead is being wholly unclear in where they’re stepping. Sometimes due to the position of where they’re stepping, and thereby their leg placement, it can appear and feel a little intimately invasive, and the Sacada by definition should never be.

4.) The Unled/Led Ocho. This particular form of the Ocho is clearly an error. Most Leads start out leading a little bit of Disassociation when they’re leading Traveling Ochos, and then over time, slowly but certainly they realize that the Follower (once they’re trained to respond properly) that less and less and less and less physiological disassociation is required to get the same response out of the Follower. It’s like magic. And pretty soon before you know it, they’ve dropped it altogether. It’s right about this point that they start to use their hands and arms and push and pull a bit to get the same response. “If I push here/pull there…they ocho!”. While that may not be the conscious thought that happen in their heads, in the end it doesn’t matter. The L/lead stops actually leading their own Disassociation which results in Applied Disassociation (or what you erroneously think of as a ‘Pivot’) in the Follower. So as a result the Follower has to infer “Ummm oh wait, I’m supposed to ocho here because the Lead is pushing there/pulling there…”. They get used to every L/lead that they dance with exhibiting this kind of behavior so it becomes standard operating procedure for them. This is how the dance is supposed to happen.

Not. 🙁

Ideally we want the Lead to actually Lead their own disassociation, and to actually lead the Follower’s Ocho. Just as a side note, typically the Lead’s right side is almost never actually led. It’s the closed side of the embrace, and the one that’s inferred the most. The Lead (person) will sometimes lead (action) the left side of the embrace (open side), and think or believe that they’re rotating/disassociating on the right side of the embrace (closed side) when in fact they’re not.

So as a result of all of this not actually disassociating: The Follower Infers an Ocho. When in fact they shouldn’t Ocho at all.

5.) Blaming The Follower. This one is more psychological more than anything else. It’s where the Follower is led to do something and the Lead changes their mind quickly and does something else, and as a result the Follower has to magically read the Mind of the Lead that while they were feeling ‘X’ coming from their lead (the action), the were actually being led to ‘Y’, and then the Follower Apologizes to the Lead for missing the lead (action).

Say what ?

You read that right.

The Follower is apologizing to the Lead for the Lead’s mistake in the form of “I”m sorry for not being a mind reader”.

9 times out of 10 the Follower apologizes for a lead’s mistake in leading something or half leading something.

As a direct result of this the Lead tends to Blame the Follower for their inadequacies and their own mistakes.

Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂

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The Case For WHY You Need This ? Actually, you don’t need it. Huh? Hmmm…that’s no way to sell videos or subscriptions. You’re right. It’s not. That’s because we’re not in the business of teaching you useless vocabulary that you probably don’t need. Stay with us on this one, it’s not going where you think it is. From a very specific point of view, this is cool vocab. No doubt about it. However, from another point of view, the social dancer who’s been dancing a while, a long while, this is nothing more than vocabulary that doesn’t further the cause of Social Dancing. Now here’s the kicker – Both, yes, BOTH points of view are valid. Here’s why:

From the Social Dancer’s point of view, you’re never going to use this stuff. Maybe once in a blue moon, but in reality the better that you get, the less you use this stuff. From their point of view, it’s four pieces of vocabulary that you need: The 6 Ways of Walking, Traveling Ochos/Milonguero Ochos, The Follower’s Molinete/The Milonguero Turn, and lastly – The Argentine Cross. That’s it. That’s all you need. From the Dancer’s point of view that’s hasn’t mastered this stuff yet, this is cool and you want to play with it, and to be able to master it. To find it’s in’s, out’s, how’s, and why’s, and mostly to have fun with it. Both points have their merits.

And now to the one twist in our point that you probably weren’t expecting. This stuff actually has validity, maybe not from a social dancing perspective, immediately, but more from a movement, and musical perspective. The fact is that this is all about one thing and one thing only: Skillz!

There’s a reason you study vocabulary like this, and it’s not because it’s cool (it can be), or that’s it’s musical (it is), or that it’s fun (it is that), or that it adds a little spice and variety now again (the once in a blue moon methodology). It’s because it’s all about your Foundation. Or put another way, because this vocabulary works your foundation in a really good way, by breaking down the movements to their component elements, so then you can become a much more fluid dancer so that you can use it, or not. It’s about availability, accessibility. Not about using it. Using it is entirely up you. But working the instrument, that’s what this vocabulary does. It works your instrument, … ahem…that’s you in case you weren’t paying attention.

No one wants to admit that they need help. That their dance isn’t stellar. Furthermore, you really don’t know that your dancing skills aren’t absolutely amazing until you see a room full of people all dancing way better than you are. And then you see it and feel like the poor cousin at the kiddie table during a holiday meal. There’s a reason those people have achieved ‘better’. It’s doing work like what you see in the video above. Being able to turn this stuff on and off as if it were a switch. A good portion of the time when we’re dancing we only think about the ‘cool’ toys in our dancing and we neglect the one thing that makes those cool toys possible: Our Foundation. That is, in case you’re not paying attention, this video series and others like it.

The Wrap Up: These are the 5 areas where there we see common errors where things can and do go awry. “Awry” probably isn’t the best word there. Party these errors happen due to habit, and partly it’s happenstance, and sometimes it’s just an execution of poor floorcraft.

Let’s be clear about something, this isn’t about Perfectionistic Tango. Yes Tango can be ooooodles and oooooodles of fun. While for some the fun can be just on the surface, and that’s fine. There are some dancers who get their enjoyment from working in the minimal and more importantly the smaller seemingly infinitesimal! This is a vastly different kind of enjoyment of the dance. In this instance, that enjoyment comes from having cleaned up errors like this so as not to mar the experience of the infinitesimal communication that can happen between Lead and Follower to allow for a completely free flowing communication where the physical constrains do not get into the way of that line of communication. And errors like these mar that line of communication because the Lead is quite honestly stopping the communication. 🙁

Some Leads, once they learn how to do something, do not want to have to go back and re-learn how to do something properly. They view it as a point of ego. They already know how to do X, Y, or Z. What they may not realize is that they’ve drifted from the relevant material, and thereby are generating errors via their physicality. The tiniest thing can throw off their leading ability and they may not be aware of it.

So it’s generally a good idea to video one’s self periodically to watch for postural issues, vocabulary errors, walking errors, and yes musical errors. And once or twice a month to get one’s self into a private lesson to address or at least look at one’s errors. And, yes…you are generating them on a regular basis, you’re just not aware of them. And if you’re thinking that no one is complaining so they’re nothing wrong. There’s a reason why no one is complaining….it’s because they can’t. The rules of the Milonga prevent any kind of feedback that would give the Lead any indication that something is amiss. Then there’s the fact that the Follower generally doesn’t want to hurt a lead’s feelings by telling them that they’re squeezing the living daylights out of them, or more to the point that something isn’t working. However, they may only understand that X works with everyone else, and it doesn’t work with you but they’re not sure why. Where ‘X’ is a piece of vocabulary. So a bi-weekly private lesson series to address your issues isn’t such a bad idea. Then again, in lieu of the local teacher that you may not trust. You do have access to a resource that can clearly explain X, Y, and Z: TangoTopics!

This video shows you Five places, which isn’t an exhaustive list, where you can change your dance for the better but unfortunately it  doesn’t show you how to fix it, or how to change it. For that you may want to subscribe to Tango Topics and look at the vocabulary videos and their corresponding articles as a subscriber to help you to change these things. To understand why something works and then how to change it for the better!

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

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Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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Backward Intention

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Backward Intention

Contrary to what you might believe, and it may be really hard for you to accept this but, Argentine Tango is not a dance of pushing and pulling. You will continually hear L/leads use the phrase, “Give me Resistance!” to indicate that they need physiological pressure (and compression) into their Left hand in order to ‘feel’ that X, Y, or Z is occurring. X, Y, or Z, in this case, can be, but is not limited to, walking, weight changes, ochos, turns, crosses, sacadas, musical interpretations, etc.

Today’s Tango Topic deals with a type of indication, a specificity really, in how to initiate a step backward with our partner. And by ‘initiate’, we mean to lead, as in the action to intend to do something. It should be noted that Followers reading this Tango Topic that may erroneously think that they can tune out and need not listen to this stuff. Which in the Tango Topics opinion would be a mistake. 🙂 This stuff isn’t just for Leads, but for both roles, as you’ll soon see.

It should be noted that for some of you reading this, the topic will be an eye opener that this stuff exists, for some they’ll pay no attention that it doesn’t apply to them, and for some it will almost seem like a ‘duh! of course’! In all of those cases, there is something here beyond the video above. Read on.

Let’s be clear about something: This isn’t rocket science, but it is about awareness and lots of it. And while this article may sound like ‘blah-blah-blah Tango’ to some of you reading it, trust that there is something here for you to grok and try to put into your dance. Or at the very least to stop and to think about, and that’s primarily the purpose why Tango Topics exists. To create a little awareness in your dance, instead of you doing the same thing over and over and over again. This particular topic is one of those areas that continually creates a problem for most L/leads, which they don’t realize is a problem area, and as a result, most Followers become the recipients of this problem. As it is the Follower that has to put up with the unaware Lead. As a result, the Follower grumbles when they get a Lead that hasn’t learned how not to push and pull with their embrace but rather to engage Intention-Based Dancing in their dance. So without further yappment, Tango Topics presents the Importance of Backward Intention!

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What Is Backward Intention ? First, we have to create a little bit of clarity as to what is a.) Intention. and then b.) Forward Intention and how it relates to your dance. and finally, c.) Today’s Tango Topic: Backward Intention!

a.) Intention is like starting to do something but isn’t completed. But, unlike an abrupt interrupt to stop and do something else, which happens frequently with a lot of Tango’s Leads (tsk, tsk, tsk), this is done on purpose but without any jarring motion of countermanding and instead a very gentle and kinesthetically, and not to mention but we will anyway, physiological dissipation of the intended motion’s intent. This would be Intention, in it’s simplest textual descriptive. It should be noted that this word has been defined by Tango Topics, and is used quite liberally throughout this site. Further, it is in our article database and our site dictionary. Please, follow the links (see: IBD or Definition), and watch the corresponding videos. We believe it will help you to understand what we’re yapping about. Further still, in the video above, it talks about the idea of Intention, but its focus is on Forward Intention and not on the root of the topic.

b.) Forward Intention has also been defined but by inference only, and demonstrated visually on this site in 3 different places: Intention Based Dancing, The Second Step Problem, Leading Technique), not to mention being discussed ad-nauseam in nearly every single Tango Topic in some way, shape, or form. However, again for the sake of argument and necessity to our ultimate goal, it can best be defined as a “little lean forward“. To be more precise: Where the Lead, engages their toes. Spreading them out inside their shoe/sock, and then pressing them into the floor as the phalanges (the toe bones) begin to take weight. There is a softening the knees with a little bit of downward compression, as well as a tightening of the quads to hold a stabilizing position. At this point, the Tibia & Fibula bones are allowed to float forward over the Talus bone (Ankle joint) resulting in about 2 to 4 degrees of forward tilt against a vertical line. This is a “a little lean forward”. How does this relate to your dance ? This is what generates the Follower’s back step! This is Forward Intention. 😉

c.) Backward Intention. So if Intention, is the intent to do something but is stopped, gently. And Forward Intention is a little lean forward. Backward Intention must be a lean backward with the intent to do something!

Phew! That was a long build up. Sorry. 🙁

Difficulty Rating: 1.5 out of 5 stars (1.5 / 5)

Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂

you can do better, all it takes is practice and time.

The Reality of WHY You Need This: There are many moves, steps, patterns, and figures to Argentine Tango that are really cool. What you may not realize is that most of that stuff is ‘fluff’, they’re nice to have, they’re nice to know, but honestly, you’re not going to use them that often! Mind you this is one side of the argument. This ain’t that! This piece is one of the more venerable selections of Argentine Tango that you will use frequently like Walking, Milonguero Ochos/Milonguero Turns, The Follower’s Molinete/Traveling Ochos, or The Argentine Cross. Tango Topics take this stuff very seriously, and we say that because we use this stuff ALL – THE – TIME! Our case is that you need this stuff because > This is all about foundation, or one of the Seven Foundation Steps that we use all the time to create the dance that we know as Argentine Tango. That’s why! 🙂 That said, you do actually need to watch this stuff. You can learn what you need from this video and then apply it. No lie. No gimmick. As always YMMV and to remember that the video itself is only a stepping stone! You will need some private lessons to go along with it to get the ‘feel’ of things. That is the reality of WHY you need this stuff. So subscribing for a few months to TangoTopics to get what we’re on about wouldn’t kill you. Further, it would probably help to hear another person saying what your current tango teacher has been saying all along. Think of this stuff as one more reminder that you absolutely need to hear.

bsas-prep-title

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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The Follower’s Shortened Side Step

If you were logged in, you’d see the premium version of this Tango Topic! Just sayin’… 🙂

The Follower's Shortened Side Step

The Shortened Side Step.  The Follower’s Molinete in one respect it has become the staple of the dance due to the fact that the dance is no longer a walking dance but rather a turning dance. This, aspect, is due in part to the fact that the Ronda (the line of dance) no longer moves, it hesitates, it hovers. As such is the case, we have become students not of the walk, but of the Follower’s Molinete and the Lead’s Giro in Open and Close Embrace. More the Close Embrace variety more than anything else. And so that we hit all the hot spots here, that idea of Close Embrace is in an Open Vee, Closed Vee, Pseudo, Berlin, and/or Square Embrace format. In any and/or all of these varieties of the Embrace the Follower’s Molinete and the Lead’s Giro is the staple or go to turn. Even though there are 7 other types (Milonguero Turn, Ocho Cortado – Circular or Linear, Single Axis, Colgada Turns, Rock Steps, Walking Turns, and Calesitas.) that we want to use to create a little bit of variety with our dance on multiple levels. Not just from a vocabulary standing but from a musical interpretation position. But that’s a horse of a different color for another day. As it stands with the Follower’s Molinete there is a huge or monster issue that happens in that turn that is created by 4 separate issues that create a less than desirable experience for both Lead AND for the Follower. Before we get to those 4 issues. So without further yappage, the Follower’s Shortened Side Step.

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Have you seen any of our entire Follower Technique Series ? It’s over 2.37 hrs (24 videos) of Follower Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

Read & Watch > Follower Technique

fred feared milonga. he got milonga madness. he rocks now.

What is the Follower’s Shortened Side Step ? It’s exactly what it sounds like, it’s a side step that is much, much smaller. By default when we’re performing the Follower’s Molinete (as Followers) you may have been told early on by various and sundry teachers that we want to create evenly sized steps. The reason for this is really simple: Predictability! That predictability is, so we are told, a way for the Lead to be able to rely on the consistency of your steps as a Follower. They require it. They need it. They can’t possibly dance any other way. That’s not true by the way. There is another way which Tango Topics teaches and promotes, and that’s Intention Based Dancing. Part of the goal of Intention Based Dancing is to create a hyper-awareness in the dancer so that they can and should be able to ‘feel’ via their nervous system the small and seemingly imperceptible changes that can occur in someone’s posture, body position, body placement, weight position, foot position, foot placement. And in ‘listening’ to those cues we can surmise where someone’s body is in space and time and then enact Newton’s 3rd Law of Thermodynamics in real time! So the Follower’s Shortened Side Step is really a side step that allows for a Lead to have not only predictability but also gives control back to the Follower. Control ? You see in this entire discussion of the Follower’s Side Step of their Molinete, they’ve lost control over their choices. They’ve been told this is how things are supposed to be done, when in fact they have oodles of choices. Lots really. This idea of the Shortened Side Step is just one of them.

Difficulty Rating:  1.5 out of 5 stars (1.5 / 5) (look for the blue “What is…” section. if it’s blue the post is free if you register)

Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂

you can do better, all it takes is practice and time.

The Reality of WHY You Need This: There are many moves, steps, patterns, and figures to Argentine Tango that are really cool. What you may not realize is that most of that stuff is ‘fluff’, they’re nice to have, they’re nice to know, but honestly, you’re not going to use them that often! Mind you this is one side of the argument. This ain’t that! This piece is one of the more venerable selections of Argentine Tango that you will use frequently like Walking, Milonguero Ochos/Milonguero Turns, The Follower’s Molinete/Traveling Ochos, or The Argentine Cross. Tango Topics take this stuff very seriously, and we say that because we use this stuff ALL – THE – TIME! Our case is that you need this stuff because > This is all about foundation, or one of the Seven Foundation Steps that we use all the time to create the dance that we know as Argentine Tango. That’s why! 🙂 That said, you do actually need to watch this stuff. You can learn what you need from this video and then apply it. No lie. No gimmick. As always YMMV and to remember that the video itself is only a stepping stone! You will need some private lessons to go along with it to get the ‘feel’ of things. That is the reality of WHY you need this stuff. So subscribing for a few months to TangoTopics to get what we’re on about wouldn’t kill you. Further, it would probably help to hear another person saying what your current tango teacher has been saying all along. Think of this stuff as one more reminder that you absolutely need to hear.

bsas-prep-title

About The Video. This video is 10m:51s in length in 2 sections. Lead causes and then Follower Technique is shown in the video only. There is virtually no Lead Instruction in this video.

Section 1 – What happens! – 00:09:09
Section 2 – Follower Detailed Technique – 00:01:41

This video is not for sale. It can only be seen with an active and valid Tango Topics Subscription.

Related Videos Mentioned In This Article: 

The Six Ways of WalkingDownload
DisassociationDefinition/Download
Applied DisassociationDefinition/Download

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

REGISTRATION COSTS YOU NOTHING

register and get more great, and detailed content from tango topics!

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Lazy Follower Foot

Lazy Follower Foot

Lazy Follower Foot. Most people don’t think about this stuff except for when they’re in a class or a Follower Technique Seminar, or in a private lesson. Mostly they hear it and completely forget about it about 10 seconds after it’s been said. That is unless some diligent teacher continually reminds you of this stuff, constantly. To be fair, while this particular topic happens a lot for Followers, this happens everywhere across the entire spectrum of the dance and into real life. If someone says something to you that needs to be corrected, it will take you a few tries to remember to do it, and even then that’s a stretch. The fact is that you’re dealing with muscle memory or in this case ‘muscle comfort’. It’s comfortable for you to do this stuff. So why change it. The reality is that the change comes hard to some people, and comfort is easy. If you’re comfortable why bother changing ? Right ? What you may not realize is that that comfort may or may not be desirable to look at, as in this case of Lazy Follower Foot.

you know registration is free, takes 2 minutes, & you get cool stuff. 🙂

Have you seen any of our entire Follower Technique Series ? It’s over 2.37 hrs (24 videos) of Follower Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

Read & Watch > Follower Technique

fred feared milonga. he got milonga madness. he rocks now.

What is ‘Lazy Follower Foot’ ? It is a state where the Follower’s back foot as it comes into collection from a Forward step, is either dragged without care or unconsciously. The foot itself, seemingly hangs off the ankle, and is summarily dragged into collection from the Forward step. This doesn’t happen from the Back or Side step, that’s the ‘Dangling’ Foot error. Whole different ball of wax, but the solution is exactly the same as shown in today’s video! 

Difficulty Rating: 0.5 out of 5 stars (0.5 / 5) (this item is freely available to all free and paid users, just register to see it)

Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂

you can do better, all it takes is practice and time.

The Reality of WHY You Need This: There are many moves, steps, patterns, and figures to Argentine Tango that are really cool. What you may not realize is that most of that stuff is ‘fluff’, they’re nice to have, they’re nice to know, but honestly, you’re not going to use them that often! Mind you this is one side of the argument. This ain’t that! This piece is one of the more venerable selections of Argentine Tango that you will use frequently like Walking, Milonguero Ochos/Milonguero Turns, The Follower’s Molinete/Traveling Ochos, or The Argentine Cross. Tango Topics take this stuff very seriously, and we say that because we use this stuff ALL – THE – TIME! Our case is that you need this stuff because > This is all about foundation, or one of the Seven Foundation Steps that we use all the time to create the dance that we know as Argentine Tango. That’s why! 🙂 That said, you do actually need to watch this stuff. You can learn what you need from this video and then apply it. No lie. No gimmick. As always YMMV and to remember that the video itself is only a stepping stone! You will need some private lessons to go along with it to get the ‘feel’ of things. That is the reality of WHY you need this stuff. So subscribing for a few months to TangoTopics to get what we’re on about wouldn’t kill you. Further, it would probably help to hear another person saying what your current tango teacher has been saying all along. Think of this stuff as one more reminder that you absolutely need to hear.

bsas-prep-title

The Error In Your Thinking. The reason why this dance was challenging for you, and this is the error, is that’s just their ‘style’ of dance, and it’s not your style. Yes there is an estillo to some people’s dance, but sometimes with the more advanced dancers this isn’t about style…it’s about technique and the execution of that technique! So, put simply you’re missing the other side of the equation: You’re not ready for them! And the reason is, because your understanding of your own technique, your underlying foundation, how you move, how you land your feet, how you extend your legs, how you embrace your partners, where you place your body in relationship to your L/lead, where and how you engage X piece of vocabulary…all of that stuff is not trained in you. It’s just not. Further, because you’re dancing with a certain class of L/lead mostly you only get to experience a very small sliver of what a fully trained and operational Lead can actually do. Further still the Neurology of Following (as opposed to the Neurology of Leading) is lacking in you. So as a result you ‘miss’ things. So a Lead like that above, is mostly lost on you. Yes it’s insanely fun, and challenging, but you ‘missed’ so much and what’s worse is you know it. It wasn’t embarrassing, thank god, but you know in your heart you missed so much of what was ‘said’. You missed the nuances. The subtlety.

Diving Deep.

There is a reason this stuff happens, actually four possibilities: 1.) Poor execution of technique. 2.) Poorly understood technique.  3.) No Practice. or 4.) All of the above!

While it’s not rocket science what those things mean, they do require a bit of detail.

1.) Poor Execution. This means that your attention to detail of your technique is sloppy. Meaning that you allow your foot to unconsciously move as it sees fit to move in relation to your ankle and leg. Even though you have been shown X, it’s not showing up in your dance. Either consciously or unconsciously.

2.) Poorly Understood. This happens quite frequently. We hear ‘X’ when a teacher says something to us, and in reality they meant ‘Y’.  But because we hear it through the filter of our understanding we end up misunderstanding more often than not. Poorly understood means that you hear or see something and presume that ‘A’ is ‘A’ instead of diving deeply to dig down to the roots of what ‘A’ actually is. To see it’s inner workings. Not just to accept it, but figure out for yourself how and why something functions.

3.) No Practice. This should be a no-brainer. But you’d be surprised just how many people will go to a teacher or a class and magically expect them to fix everything, and that now that they’ve visited with teacher ‘C’ that things are all better and they can go back to what they were doing in the first place. Because teacher ‘C’ said they’re “you’re doing fine but…” and “that’s fabulous, and…”, or … did you see it ? Probably not. You missed the ‘but’/‘and’ at the ends of those sentences. You only heard the praise and not the rest! Which was… “You should go home and practice the frak out of this stuff that I just spent the better portion of the last hour showing you! Not to mention you just handed me a boatload of cash to tell you this stuff, so you had damned well better go home and practice this stuff!!”.

4.) All of the Above! This needs no explanation. It’s not one or the other, but actually All of them together.

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

REGISTRATION COSTS YOU NOTHING

register and get more great, and detailed content from tango topics!

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Tango Noise

Tango 'Noise'

Today’s Tango Topic is not a sexy topic, and it may almost sound like perfectionism, or complaining. When in fact it is a real world example of what can and does happen in Argentine Tango. Think of it as minutiae, but this minutiae has massive implications for how you dance and more importantly how your dancing skills are perceived!  Today’s topic deals with what can be referred to asTango Noise. The word ‘Noise’ is a slight misnomer because this is not something that is heard but more importantly felt via the nervous system of the human body.
Before we go any further, let’s be clear about something: This topic is not about perfectionism! It’s an observation of what happens to the human body. This article and free video are not here to point out that you’re failing (which may or may not be true), so that you’ll be a perfect dancer in the end (as there is no end to this stuff). No! This article exists for the sole purpose of bringing your attention to the issues that you’re generating and then showing you a possible solution set. And so that we’re absolutely clear, this isn’t a beginner thing, nor intermediate, nor is it an advanced thing, nor does it have to do with those that have been dancing a minimal amount of time or a long period of time. Nor does it have to do with ‘style’, or genre of Tango in any way, shape, or for. No. Tango Noise as a whole is generated by those that have been dancing for 5 minutes and those that have been dancing for 5 years and/or 55  years, that dance any style or ideal of tango. Time and/or Style are not factors here. Perceived skill is not a factor here. Awareness is a factor, and it’s the only factor that matters at all.

learning tango is challenging. registering makes it easier. 😉

Have you seen the Six Ways of Walking Series ? This video series showcases the Six Ways of expanding your walk in Tango using: Parallel System Walking, Cross System Walking, Three Track Walking, ‘Lazy’ Ochos, The Snake Walks, & Alternate Walking.

Learn > The Six Ways Of Walking

mark found the habanera in gold madness. you can too! 🙂

What is ‘Tango Noise’ ? In its simplest form, it is a series of motions that by themselves are individual problems that we want to avoid, but are grouped together to describe what can, and does, happen to the human body while dancing that can generate kinesthetic unintentional motion which is perceived as instability or being unsteady. One of them this site has already detailed in detail is ‘Thud’. ‘Thud’, to refresh your memory, is where the dancer’s leg lifts the foot off the floor, and then is put down with some force, resulting in an impact with the floor that is heard as a ’Thud’. However more importantly the ’Thud’ is felt as a tremor which travels up the leg, through the hip, and then up through the spinal column and out through the arms of the embrace. This is just one element of Tango Noise.

Typically Tango Noise manifests itself as either unintended or unconscious motion in either the spine, hips, legs, arms, head, and feet. Which is your entire body. It is neurological in nature, meaning that it is generated by the dancer’s lack of kinesthetic awareness, however we only see the skeletal effect of this neurological lack of awareness.

Mostly everyone generates some kind or type of Tango Noise. Our goal in our solo practice is to minimize those issues or areas of Tango Noise as much as humanly possible. However the fact is that a lot of people don’t do that. They’re completely unaware that they’re generating these things to begin with, and believe, erroneously, that what they’re doing is desirable because no one has said anything about their abilities or skills. This is a fallacy of delusion. The reality is that a.) a good portion of the people that you dance with have not been trained to feel this stuff. and b.) because they’re untrained they’re not going to say anything about it. and then there’s c.) The Feedback Problem. Meaning that even if they knew about it, they have an issue with how to give you feedback so that you can hear it. 😉

That said…let’s talk about Tango Noise!

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Have you seen any of our Foundation Series ? It’s over an hr (8 videos) of Foundation Technique covering your Extensions, Feet, Posture, Embrace, and the beginnings of your Walk, and much more….

See > Foundations Bundle

milonga madness and a gold subscription together = 🙂

From A Dancer’s Perspective you can and do generate Tango Noise in a myriad of ways. While this is not necessarily an exhaustive list, it does touch on the major points that you want to become acquainted with.

1.) Tilting from side to side, breaking at the waist, usually in a side step.  2.) Pitching forwards and back (with & without breaking at the waist). 3.) Head Tilt towards and away from your partner. 4.) Wavering from side to side, or back and forth. 5.) Flailing arms, or threshing elbows. 6.) The leg going backwards, crossing the body meridian in an unintended, unaware, and uncontrolled fashion. and 7.) Obviously, ‘Thud’, which we’ve already detailed. There is one more which is common to both Follower and Leads, and we’ll get to that one below, and really it’s the focus of this article which is not shown in the video for good reason, it’s because it’s unseen, but rather felt: Wiggle. There are two areas where we feel ‘Wiggle’:

Spinal Column: The Spine can, and does, move a good amount which is desirable, we want that motion, mostly to be somewhat steady circular motion as it relates to Argentine Tango. At the same time a good portion of you are unaware that you are generating lateral ‘wiggle’ motion. This ‘wiggle’ happens in your spinal column which is felt as a slight or minor displacement that go from side to side, very slight. This motion is all to easily confused with walking instability. However if you stop moving, then then the ‘unsteadiness’ or ‘wiggle’ is felt independent of the walk. Ideally we seek a ‘quiet’ spinal column, no unintended motion, the less unintended or uncontrolled lateral movement in the spinal column the better. 🙂

Your Hips: While there is a certain amount of motion that we want in the hips, what we do not desire is where the sockets or joins are seemingly ‘wiggly’ through and through, meaning there’s a bit too much ‘give’ or looseness in them. This is usually felt as the leg extends, that it extends slightly diagonally to the left or to the right, and always to the same side with the same leg. To be clearer, sometimes this is an affectation of age and there’s seemingly not a whole lot you can do about this one, it’s just what happens to your body. Seemingly being the operative word. As you can in fact strengthen the tendons that surround those joints to a certain degree. Going forward, the looseness is felt as a ‘Wiggle’ and is undesirable. 🙁

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From A Student’s Perspective let us be absolutely clear about something: “Tango Noise” is a Tango Topics term. Other teachers may have a different way of talking about this stuff, if they talk about it at all to this level of detail. Quite possibly this is not something that you’re going to hear from a lot of teachers on this topic in specific. You won’t find this stuff on YouTube or vimeo, and there is sincere doubt that your teacher is going to discuss it with you in any way, shape, or form, except as bypassing commentary while you’re dancing with them, and not necessarily address the underlining issues. That’s not a disparagement of your teachers or any teacher for that matter, it’s a statement of fact that they have a whole bunch of other things that they may need to address, so this particular point of minutiae may not be addressed at all, if ever. 

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The Fix ? Ok, so we’ve identified the issue oh so wise and sage tango teacher (ha-ha-ha, as if!)…is there a fix for this stuff ? Yes, and no. Yes. The ‘Yes’ requires that the dancer start doing solo practice work. And in specific working on their extensions, and weight transfers. This site has a number of exercises that you can use to help you with that process if you need ideas and really what to focus on. Just by example ideally we want to focus on the minute movements, specifically at the beginning of the extension phase of the step, just as the leg is extending, that motion. Not the entire extension, sometimes referred to as a ‘projection’, but just the starting point of that extension. And learn to control it in ever increasingly smaller and smaller motion. 😉 No. The ’No’ part is that you can’t necessarily do the spinal corrective parts on your own. For that, you’d need another human being that has been trained in this stuff so that you can begin to hear it, and then learn to control it.

However in either case of “YES” or “NO” there is something that we can do to at least see the effects of this stuff, and that’s where we talk about “Glass” or “Water Work”.

Working With Water. The fact is that water is a great truth teller in this instance. Fill a flat bottomed glass with water about 90% of the way full. And then do 1 of 2 things, preferably in sequence.

One: Stretch out your hand as shown in the video above, and walk forwards or back, attempting to minimize the amount of motion in the water!

Two: Place said glass of water on your head, and walk with the embrace, as a Lead or as a Follow, by yourself! Not with a partner.

Working with water in this case is a great mitigator, it shows you where you are the most stable, and where you’re the least, it also shows you where you need to focus on to create a clean and stable walk.

Reality. Rightfully you must be trained to hear this stuff in order to correct for it. And you do want to correct for it. Because doing so will clarify and clean up the sensation of how you move. Truthfully most people, erroneously believe, that Tango is all about the steps, patterns, figures, and it is not that. It’s about how you move! The dance can be about anything you want, but in reality what lay under that dance is the technique of how you move. If you ‘just walk’ in Tango, this will get you around the floor. But if you were to video that ‘just walking’ around the floor, more than likely you’ll be unimpressed with the results, you’ll want it to look more elegant than that, more refined, much sharper, clearer. Tango Noise, and the topics under it as a concept, deals with that are beneath that ‘just walking’ part. It’s more about what is felt than what is seen. While you can present for the 15th row (if you were performing), that’s all fine and good, but most people do not perform, they Social Dance with their friends and acquaintances, and they’d like to that Social Dance to not only look nice but also feel nice. Tango Noise is all about removing those things that can generate a less than desirable experience, and thereby making the dance feel as good as it can without pulling, pushing, pressure, compression, tension, rigidity, or force in any way, shape, or form. 🙂 YMMV

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

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Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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3 Couples Exercises

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3 Couples Exercises

Exercise. The very word makes most people go “Uuuuugh!”, which is right up there with ‘homework’, ‘practice’, ‘taxes’, ‘rent’, and ‘dental visit’, and about as much fun. Sadly. 🙁 And this applies even more so with regards to Argentine Tango. It’s no wonder that when you say the words ‘Tango Exercise’ that most people want to hide under the nearest rock. And there’s a few reasons for this association. The first is that most people’s experience of Tango Exercises is continuous repetition of the same movement. The same movement at faster and faster speeds to seemingly impossible levels of detail. Eeeek! The second is that for the greater number of people, the very idea of Tango Exercise conjures an ideal of perfectionism that you can seemingly never achieve. The third is a load of self-judgement and the judgement of others that prevents us from doing better. All of this stuff, and a lot more that is not said here, is what keeps us from Exercise with regards to Tango.

The fact is that you absolutely need to exercise your Tango skills. Constantly. This isn’t about going out social dancing and just hoping that all will work itself out. That line of reasoning is one reason why we have the row of women that sit, and the row men that stand at milongas. And before we go any further to dispense with the blame game that happens repeatedly when reading this sort of post, let’s be clear about the fact that these same people haven’t done the necessary underlying work that would smooth out the physiological errors that they’re constantly (and completely unaware of) generating within the construct of the embrace, within the structure of a song, and a tanda, with multiple partners. Then of course, to be fair, there may be a fair amount of Tango Baggage going on for those people as well. 

Throughout all of that though, most of Tango’s Exercises focus on Solo Exercises for the Individual.  Like for instance the foot crossing exercise, or the ballet rise exercise, or the applied disassociation/ocho exercise, the twisty exercise, or the twirly exercise, or the linear ocho exercise itself, or the stability exercise, just to name a few. However there are a small number of exercises for a couple to work on. Typically when we exercise, or ‘practice’ tango, it’s dancing a song or a tanda to music. While dancing with multiple partners is always helpful, as it gives us really good insight into how and what we think we’re doing vs. reality, it doesn’t hurt to exercise the underlaying common elements of tango. That said, let’s talk about Tango Exercises for Couples.

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Have you seen the Six Ways of Walking Series ? This video series showcases the Six Ways of expanding your walk in Tango using: Parallel System Walking, Cross System Walking, Three Track Walking, ‘Lazy’ Ochos, The Snake Walks, & Alternate Walking.

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The Embrace Work In This Video. Before we begin talking about exercises, we have to talk a little bit about what areas we’re going to exercise or practice. One area that gets overlooked quite frequently is the embrace itself. This is one of the more common areas where most errors are generated, that and our walk. So we do actually want to practice using several forms of the embrace. While there are multiple forms of a Tango Embrace, there are 3 forms that we want to start to use when Exercising for Couples:

1.) The Symmetrical Embrace. We use a Symmetrical Embrace for many reasons, one of which is that it alleviates most of the embrace peculiarities that crop up for people. The thinking is that if you can employ vocabulary with a Symmetrical Embrace, then everything else will be a piece of cake, and there is some validity to this statement. The ‘Practice’ or ‘Symmetrical’ Embrace is all about the equal and bilateral relationship between the partnership – whatever you can do on one side, you should, technically, be able to do on the other. 🙂

2.) The Close Embrace. While we don’t necessarily need to talk about a ‘Close Embrace’, we do however have to remind you a ‘Close Embrace’ is not compressive, that we ideally want skin to fabric contact without tension, compression, pressure, or force in our arms in any way, shape, or form…ever. There is a reason for this, most notable is that we want our partner to be able to move freely within the embrace construct, regardless of role. Secondarily we do not want to use our arms or hands for stabilization in any way, shape, or form within the embrace. We want to be fully engaged and independent of needing to hold on to someone to execute what we want to do or are being asked to do.

3.) The No Embrace. And lastly the No Embrace is a really just a Close Embrace without the arms! It’s a torso-to-torso contact, the trick is to stay in front of your partner at all times while at the same time engaging vocabulary! Easier said than done!

This Article Is Free! But there’s a catch. There’s always a catch to these things. But we think it’s a small, very small price to pay. The price: You actually have to register as a free user! You get oodles of benefits, posts like this in their entirety with ALL the trimmings, including the Leading Perspective, the Follower’s Perspective, and the Dancing Perspective! Plus a Free Tip for the Advancing Dancer. And of course access to the Full video itself. No teasers. No gimmicks. Just pure video with the full Tango Topics video that you want to see. In addition to that, you get access to ALL of our Practical Tango Advice videos and the full articles! Tango Thoughts, all of them so you don’t have to go searching for them. Plus access to our music library to start training you on how to hear the music. Plus a host of over 100 MORE videos entirely free for you to watch. Nothing to download. Just watch, learn, and improve! How can you pass that up ? And it all starts with you scrolling to the end of this page, and registering. If, however, you’re already a registered user, then all you have to do is login and go to your tango topics technique library landing page and select the “Free Articles” button. You’re welcome. And thank you for registering. By the way, there are more than a few of these articles on the site that are open. Just look for the blue “What is…” section after the video. If that section is yellow, then that means that the full article is available to you but not the full technique or subject video. 

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About The Video. This video comes is 26m:39s in length in 4 sections. Both lead and follower technique are combined and integrated into the video.

Section 1 – Introduction – 00:00:48
Section 2 – Walking Exercises – 00:14:34
    –Sub-Section A – Slow Walking for Both Roles – 00:03:27
–Sub-Section B – Beat Walking @ 40BPM – 00:03:48
–Sub-Section C – Beat Walking @ 20BPM – 00:03:41
–Sub-Section D – No Arms Exercise – 00:03:27
Section 3 – Milonguero Turns & Argentine Crosses – 00:04:30
Section 4 – The Turn Game & Closure – 00:06:33

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The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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Contortion

Contortion

Contortion.  You see so many different ideas of dancing tango that it sometimes very hard to differentiate desirable from the undesirable. That unless you teach you’re not going to see these issues and need to be reminded of them, frequently so that you stop co-creating these less than desirable issues.

What is Contortion ? In it’s simplest form, ‘Contortion’ is twisting your body, then placing your body, and further still compressing (squeezing) your partner’s body into you, into a physiologically untenable position, and staying there for the length of a song. Then starting the next song in the tanda from a clean position, and then starting to slide into the contorted position. This is ‘Contortion’.

And ‘yes’, it is an issue. Everyone exhibits some form of contortion. Everyone.

Before we go any further, 2 things are going to happen while you read and/or watch the video above: You’re going to immediately run to the judgement that 1.) The author/teacher is being a perfectionist. 2.) That the author/teacher is being arrogant. Neither are true. These are stark observations offered without judgement. If you see yourself in these things, then so much the better. However, the thing that you should rightfully pay attention to is not the resolution example, which gives you the idea of perfectionism, but the latter part of the video that starts at (07:36). 

That said, let’s talk about Contortion.

From A Following Perspective you have 3 primary areas of Contortion that come up for you. 1.) Arm Over The Shoulder. 2.) Side of Body Following. and 3.) Follower ‘Chicken Arm’ Distortion.

Arm Over The Shoulder – This is an outgrowth of wanting more, or deeper physiological contact with the Lead. And while the physiological contact does serve it’s intended purpose, more contact, the problem with it is that it compromises the body to do so. As a result of going over the Lead’s shoulder with yours (as shown) above, you end up raising one shoulder above the other, and thereby curving your spinal column. And as an added bonus you’ll tilt your head into your lead.

Side of Body Following – This missive is factually placing your body in the Lead’s armpit, but only having the physiological contact of about an inch or so of their body. As a result of this kind of Following, all of your vocabulary will become ‘linear’ or ‘oblong’. Example: Turns will no longer be circular, they’ll be ovals! The back step of the molinete (not a milonguero turn) will become almost impossible to do, and you’ll end up in the Lead’s armpit, thereby being behind the L/lead, seemingly never able to catch up to them. 🙁

FollowerChicken Arm – The Follower will create a loop with their left arm, placing their left hand on the ribcage of the Lead’s right side about 6 inches down from their armpit, and then bend their elbow out at a 90 degree angle, and here’s the wacky part – then they’ll raise their left shoulder above their right, thereby curving their spine, all in ‘close embrace’.

From a Leading Perspective you also have 3 areas of concern that generate Contortion. 1.) Head Tilt (Away/Towards). 2.) Side of Body Leading. 3.) Lead Chicken Arm.

Head Tilt – While the topic of Dancer Head Tilt has been detailed before, the Head Tilt that is most common here is the Tilt of the head TOWARDS the Follower. As a result the Lead will place physiological pressure on the Follower’s head. This is done without the Lead necessarily being aware that they’re doing this. Sometimes, infrequently this is Head Tilt AWAY as shown at (00:00) so as to ‘accommodate’ the Follower’s Bodily Contortion or because they don’t want to get too close to the Follower’s face or mouth area. It’s too intimate for some Leads.

Side of Body Leading – This lead missive is factually placing the Follower’s body along the side of your body. The physiological contact point is about an inch or two wide, and is a strip of contact on your body from the crease of your right armpit to your hip. As a result of this kind of Leading, all of the Follower’s vocabulary will become ‘linear’ or ‘oblong’. Example: Turns will no longer be circular, they’ll be ovals! The back step of the molinete (not a milonguero turn) will become almost impossible to do, and the Follower will end up behind YOU, seemingly never able to catch up. 🙁

LeadChicken Arm – The Lead holds their left arm out straight, level with their shoulder line, and then bends at the elbow in a 90 degree arc, towards the Follower, then grasps the Follower’s hand.

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From a Dancing Perspective these are 3 most common forms of Body Contortion that happen for both roles. You see this stuff everywhere and think to yourself “Well….if so and so is doing it, it must be ok, right ?”, and at that point you normalize the behaviors and postures of the people around you. At the same time you also have something else working against you, your memory of your last session with your ‘teacher’. At some point during that session (assuming said teacher has their collective act together) said teacher should have noticed (frequently a good portion of them don’t) and then remarked upon (again, they don’t want to hurt your feelings…mind you, it’s your money, ‘feelings’ shouldn’t enter into it!) the fact that you’re embrace, your posture, your body is contorting this way or that. And unless you are reminded about it constantly, you’ll think about it for about 2 steps and then you’ll completely forget about it. And if you’re thinking that you’ll remember this stuff on a Social Dance floor at a Milonga…think again. Stress gets in the way that happening. If you are stressed out how much space you have between yourself and the couple ahead or behind you. Or if you’ve missed something and you’re focused on that…posture, embrace, presence are the last things on your mind. You’re too damned busy freaking right the frak out. Dancing ? HA! Again this isn’t about perfectionism, nor is it about arrogance, this is demonstrable fact, proven time and time and time again.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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Preparing for Buenos Aires

If you were logged in, you’d see the premium version of this Tango Topic! Just sayin’… 🙂

Prepare for Buenos Aires

Buenos Aires for a lot of people, is their trip to Mecca. It is mythological. It is magical. It is the next logical step in their evolution. In their mind they have seen the videos of dancing at Salon Canning, or Villa Malcolm (pron: Vee-Jah Mal-cum), or the crowded floor at La Viruta with 300 other people, or seen the Sunday nights at Villa Malcolm, or the ‘practica’ at De Queresa, or Cachirulo, or La Glorieta, or La Catedral, or any of the hundred plus milongas and practicas per week there, and dreamt of what that must be like. And then to actually be there and then they’re hit with the reality of ‘Oh shit!’ I’m dancing in Buenos Aires! It’s right about at that point when they see the quality of dance, and the speed of the rotunda, that several things happen for them. Fear comes to mind, then excitation, and then more fear (for a different reason), and then hoping that you can manage the floor (as a Lead or a Follow). It’s right then that they wished they had studied harder or paid for privates with the visiting Argentine instructor, and they try to remember everything they’ve ever been taught. They conveniently realize that they’ve not spent any time Preparing For Dancing in Buenos Aires.

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Have you seen Dancing In A Small Space (DIASS) ? If you’re planning to dance at a Tango Marathon, Festival, Encuentro, Buenos Aires, or your local Milonga is a very crowded and you want to know how to dance well in a small crowded space, then this video is the key to that process.

See > Dancing In A Small Space

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What is Preparing for Dancing In Buenos Aires ? This video is all about helping you out with a few vocabulary choices that can change your dance in Buenos Aires so that you’re not freaked out by it from either role. This video is an important tool that can, at the very least, prepare you, and help you to enjoy dancing in BsAs more than you would ordinarily. The reason is a really simple one: Experience. This video covers the ‘how-to-prepare’ yourself for dancing in BsAs for both roles. However, it’s really just a precursor to the toy that you really want:  

Dancing In A Small Space. It should be noted that while this 5 point guide is on the technical aspects of dancing in Buenos Aires, it should and can also be applied for Dancing in a Small Space (DIASS <-Follow The Link…really). The techniques are exactly the same that is described herein this video. The skillsets laid out herein are not only the same but even more applicable because while you’ll only dance in BsAs once per year (if you’re lucky) and only for a few short weeks (sadly), you’ll definitely visit a crowded milonga anywhere in the world far more often! Learning how to manage the floor, manage your space, introduce simple but clear, and small vocabulary from a Leading and a Following perspective is absolutely crucial to your continued success as a dancer especially in Buenos Aires! 

Pre-Requisites: So that we’re all clear on this part, note the difficulty rating below, it is not an exaggeration! Do not attempt this stuff unless the following is true: You have mastered 1.) your walk. 2.) your stability. and 3.) your equilibrium. 4.) your turns (either role – milonguero turns as well as the follower’s molinete at minimum).

IF …

a.) you need to stabilize yourself against your partner when walking.
b.) you need to use your hands or arms in any level of tactile compression.
c.)
 you are in the habit of watching your partner’s feet (but don’t realize it).
d.) you are used to using resistance – compression – rigidity – tension – or force to engage your ideas.

THEN… dancing in small space (DIASS) and/or preparing for bsas will be challenging for you.  That’s why it’s a good idea to subscribe to tangotopics.com and clean up these issues ahead of time. 

Difficulty Rating: 4 out of 5 stars (4 / 5)

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bob was mr. boleo. he subscribed. now he walks & his partners love him.

From a Following Perspective, you’ll walk in the door, pay your pesos, try to find a chair, maybe share a chair with another girl, and then on the edge of the seat put your shoes on, and then get all situated and try to find someone, that maybe looking to dance with you. You watch the room, you’ll start scanning the room for leads. Potential partners. You’ll watch the leads that are dancing. And it’s at this point you’ll start to pay attention. And you freak right out. “Oh my God!! He’s so good.”, you’ll say as one passes by.  You’ll watch the Followers feet thinking your feet don’t look like that. Your insecurities will come up in ways you haven’t even thought of yet. It’s right about this point that you’ll wonder if there was some way you could have prepared to be here because this is so unlike anything you’ve ever seen before. So many people, not even the festivals that you may have attended are like this. Yes it’s all tango but not like this. Never like this. So many people and so tightly packed together. You wonder if they have any space at all to move and how you’re supposed to dance in that without stepping on someone ? If only you had a resource that could have showed you what dancing in Buenos Aires is like, what you needed to focus on, how your turns want to be and what to study. If only you had had a few more privates with X, or a few more lessons with Y, watched a few more youtube videos.

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Have you seen any of our entire Follower Technique Series ? It’s over 2.37 hrs (24 videos) of Follower Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

Read & Watch > Follower Technique

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From a Leading Perspective, let’s get something out of the way immediately – your ego is going to be crushed. From the very first second, from the very first song, from the very first moment you get a Follower on the floor, every insecurity you’ve ever had is going to come up for you. One question will burn in your mind “What do I do now ?”. Naturally, you dance at this point. And you tense up trying to do your best Buenos Aires elegant dance that you can think of times 10! However, you’re freaking out right now. The distance between the partners, the speed at which the rotunda is moving, the follower in your arms and the way they’re moving, it’s sooooo very different than what you’re used to. Holy geeze! This isn’t dancing. It’s survival! You fall back on one thing, rock steps…everywhere. Walking a little, and turning…thank god for turning otherwise you’re going to hit someone. Wait! Everyone stopped moving. She’s talking at you, asking your name, it’s all a buzz, and then you sort of calm down and tell her where you’re from and conversation ensues. Then people start moving again, why are they moving ? The couple behind you is quite literally bumping into you. You better start dancing….oh there’s MUSIC playing. You didn’t hear it before. There was music playing. Christ! About the only thing you heard was the throbbing in your head and you trying to remember everything your teacher has ever said, that and the voice in heard head screaming “WATCH OUT!!!! DID YOU SEE THAT!?!?!?!? WATCH IT, WATCH IT….YOU”RE GOING TO GET HER KILLED!!!!”. If only you had had a resource, a video or two, that could have helped you with Preparing For Dancing in Buenos Aires….

if you registered, you’d get to see a lot of free content!

Have you seen any of our entire Leading Technique Series ? It’s over 5 hrs (18 videos) of Lead Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

See > Lead Technique

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From a Dancing Perspective, there are a few Tango Realities that you need to be aware of:

All of those things listed above in the leading and following sections are going to happen to you and more that aren’t listed!

There will be fear, there will be sweating, there will be trepidation, all of your calm, and cool will go right out the window, especially if this is your first time.

If and when you do get on the floor understand that you’re not going to move more than 2 feet in a tanda, and that’s a lot, you’re going to rock back and forth (bad idea), a lot, even if you think you know what you’re supposed to be doing. It’s right about at this point that you should have mastered the 8 Types of Turns (Walking Turns, Calesitas, Follower’s Molinete to the Lead’s Giro, Milonguero Turns, Rock Step Turns, Media Luna, Ocho Cortado and it’s variations, and/or Single Axis Turns) that Tango Topics talks about, or studied the music a little better, or worked on your embrace a little more.

You’re going to squeeze the living daylights out of your partners because that’s what you’ve experienced mostly out of fear and not be aware of it.

You’re going to experience different kinds of embraces. Some very heavy. Some very lite. Some very in between. Some you will not like at all. Some you find to be exceptionally ‘heavenly’. Some will engage the idea of “La Marca”. Some will use Resistance Based Dancing. Some, especially at the well traveled euro-dancer, and north american dancers, and near teacher class dancers, will invoke Intention Based Dancing in their embrace. Some of those embraces will confuse you and some you will be very familiar with.

Assuming that you stay on the floor, you’re going to spend 30% to 40% of the song, and really the tanda talking and not dancing. It’s also about this point that you’ll notice something about the length of the tanda depending on the milonga venue you’re at, they’re at minimum 4 song tandas, and sometimes 6!

Understand that there are 5,000+ (by some estimates) people in BsAs on a daily basis leaving and arriving just to dance tango, and most if not all of those are tango turistas, and believe it or not you’re more than likely dancing with one.

More than likely you’re not going to get to dance with a local for a few reasons: 1.) You don’t exist until you’ve proven yourself (more on this later). 2.) They’ve seen it all before. 3.) You’re a tourista/gringo/gringa and they know it and so do you. 4.) They’re out with their friends and you’re not on the menu…yet. Basically you’re an unknown and unless they’ve been introduced to you more than likely you’re not going to get to dance with them. Most of the people that you’ll dance with are from somewhere else all looking for the same thing you’re looking for. Oy!

Cabeceo/Mirada. Oy. This one is going to drive you crazy. It depends on the Milonga. It depends on the venue. However, as a rule of them it is better to air on the side of caution that you want to employ good Cabeceo/Mirada habits…always. And if you don’t know what those are just yet. Go here and here. And while it may not seem like it, there is a form or a variation on a theme of Lead Cabeceo in Buenos Aires. Use it at your discretion. You will discover that some people, don’t use the practice, and that some do. However at most, if not all the milongas, especially the good ones, you do actually see it being used constantly. 😉 So…use it.

Lastly, assuming you get through all of that stuff above and are able to relax, you will start to discover something which is the entire reason you’re there: Dancing is very different in Buenos Aires. Very different. It’s smaller. More compact. Tighter executions. It looks faster because of the flow of the line of dance. But it’s no faster than you’re local milonga. The speed thing, is a bit of an illusion. It’s just that the people in the line of dance are dancing at a much more neurologically enhanced level than where you’re at right now. Their neuro-response times have increased at the very least 100 fold if not 1000 fold. And the more that they dance in this environment the more accustomed they become to it. Not to worry you will as well.

There’s one more thing you should know about dancing in BsAs: Every thing that you’ve heard about Tango being a walking dance (including Tango Truism #1) is not the truth! Tango is no longer a walking dance in Buenos Aires, but has in fact become a turning dance instead. The reality is that almost no one teaches this, your head will get filled with all sorts of ‘stuff’ that has nothing to do with this important factoid. Very few people talk about this because it means losing money. However, the fact is that tango is a turning dance in BsAs and really the rest of the world.

Dancing in BsAs is constantly changing, the milongas, the experience, the people, the constant turn over. People coming and going constantly. It’s like stepping into the middle of a conversation and not knowing what the topic of conversation is and then trying to participate except that you know the language, sort of, and can sort of follow the discussion..sort of. That is dancing in Buenos Aires at the 50,000 foot level.

Contrary to what you might believe, Dancing in BsAs isn’t about passion, emotion, feelings, or the any of the hundreds fallacies that you have your head about the romance of dancing there. Nor is it about the 100’s of classes that you have or will take there (which you’ll forget after you’ve taken them – useless waste of time that will screw you up more than fix you or educate you). What is Dancing In BsAs about then ? First and foremost it’s about creating a dance in a small space, economically, without force, without compression, without pressure, without tension, with ease, incrementally, and most of all musically. Interpreting the music is absolutely key here. While the vocabulary is a massive component, hearing the music, and being able to interpret it properly is absolutely crucial to your tango success or failure.

Truthfully, this component of musical interpretation is not covered in the video but is actually part of Tango Topics subscription service. Nor is it something that you’re going to learn in 5 minutes, especially the 5 Pause Types that are all over Tango. Learning to hear the music is not something that should be over looked, as you’ll just ‘feel’ the music. Not. You must learn to hear it in a very different way that allows you to a.) analyze it. b.) employ technique against that analysis. and c.) then execute. The enjoyment comes from getting beyond those things and knowing that your partner is doing the same thing.  If that sounds like work, that’s because it is. It’s a lot of work. Typically re-tooling yourself to hear the music properly takes about 3 to 5 months. So you should rightfully plan for that, and subscribing to Tango Topics wouldn’t hurt either!

Next, and probably lastly, it’s about learning to hear the small movements and making a dance from those small movements. Learning to hear the Incremental motion and then responding to it, and what you can possibly do with it (Crossbody Incrementals). Learning to respond to the smaller and much more incremental. This isn’t about big steps, but small ones, tiny ones, learning to dance to with this in mind that everything….everything is smaller within this environment and at hyper speed. This isn’t about vocabulary per se, nor is it about the music per se, it’s about less is more in time to the music. And in order to do that, you either need to spend several month there, OR you need a primer to Prepare For Dancing in Buenos Aires.

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Have you seen the Six Ways of Walking Series ? This video series showcases the Six Ways of expanding your walk in Tango using: Parallel System Walking, Cross System Walking, Three Track Walking, ‘Lazy’ Ochos, The Snake Walks, & Alternate Walking.

Learn > The Six Ways Of Walking

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About the Video: Preparing for Buenos Aires is 19m:11s HD in length in 8 sections. This is not a technique video, for the individual techniques discussed in the video, it is highly advisable that you go look to their individual technique sections in the TangoTopics Library that is provided with your subscription. This video is more of a how to make things to work from a Leading & a Following perspective, what to practice before you go, and how to practice them.

Section 1 – Introduction – 00:00:48
Section 2 – Walking Steps – 00:02:46 
Section 3 – The Argentine Cross – 00:03:12
Section 4 – Ocho Cortado, Check Steps, and (Pitter) Patter – 00:04:04
Section 5 – Turns – Milonguero and Molinete – 00:03:38
Section 6 – How To Prepare – 00:01:09
Section 7 – Example – 00:00:45
Section 8 – Closing – 00:01:09

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The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

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Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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Giving (and Receiving) Feedback.

Giving (and Receiving) Feedback

We would like to believe that we are perfect that everything that we do functions to what we believe is ‘right’ or ‘good’ or to our ideals of these things. They don’t have to be perfect, but things have to work. The problem with this line of reasoning is that a good portion of the time, this is essentially operating in a vacuum without external input, or external query, or oversight. This way of operating (anything really) can be desirable and it can also be less than desirable. A good portion of the time it’s less than desirable, but you don’t know that because you live in a bubble of information that is self deluding and self created. Think election 2016 and you’ll sort of get the idea of where this is going. 

Related to Tango ? Yes. This is entirely related to Tango. Without clear, clean, and honest feedback from the people that we dance with we can never change what we’re doing, or even know that change is required. And that’s the kicker right there, for a lot of you reading this and watching the video above, change is required, the problem is that you don’t know it. And furthermore, rightfully so, you’re afraid to ask for feedback because it means change, which means work You’re fearful of the work involved, that it will be hard, difficult, work. Further still that work will, or so you believe, uncover your ignorance around X, Y, and Z. And no one, absolutely no one wants to look like they’re ignorant of the facts. And when you really get down to it, you just don’t want to do that kind of work for something that is supposed to be ‘fun’. Right ? But here’s the kicker, you absolutely need to do that work. And you absolutely need to start from a place of ignorance. Why ? Think of it as if you were going to do your taxes for the year. And you forget a few things that are the difference between paying no taxes (cool) and paying hundreds of dollars/euros/rubles/etc in taxes. And all because you left out a few very important details. It’s the details that matter. Get those details right, and you pay no taxes. Get them wrong, or don’t supply them, and there goes your tango budget for the year! How is this related to Tango ? The details matter in Tango, everywhere, everywhere.

Qualified Feedback. The fact is that good portion of people are 1.) not comfortable giving feedback. 2.) don’t feel qualified (because they’re not a teacher) to give feedback. and/or 3.) that they could be of any help to you because they don’t want to feel responsible or give you false information. At the same time we want to give qualified feedback, and receive qualified feedback, from a qualified source or a source of information that has a track record of teaching. The fact is that most people do have qualified feedback, they just don’t know how to put into a form that is useful to anyone. At the same time, we also have to give feedback that is useful and helpful to someone else. The fact is most people can’t do this, they feel overwhelmed as to what to say to someone without hurting their feelings, while at the same time providing useful information that could help someone.

So here’s how to give constructive feedback. Use “I” statements. Example ? “I feel pressure from your right arm and shoulder” or “I see that you’re watching my feet” or “I know that we’re not on the beat”. And so on. However those statements don’t go far enough, you must be specific in exactly what isn’t working in your opinion. Note the very last words there -“in your opinion”. Understand that you are not the sole of all wisdom and as such you have an opinion about how things operate, so you must state things as such. Saying anything more than that, unless you teach professionally, makes you seem arrogant and out of touch with reality. Further you must keep whatever feedback you do offer limited to you and what you are experiencing and not extend that to what your teachers have said, or what others have said. Example: “I am feeling pressure from your right arm and shoulder, and it’s causing me pain to have to resist you like that”. And not,“My teacher said that you have to resist me” or “Chicho said…” Got it? What this boils down to is that we want the feedback to be authentic and real. 

Where to give Feedback ? There is really only one appropriate place to give someone feedback, and that is at a practica (as defined in the video above). Never while dancing with someone, even if they ask for it and make it ‘ok’ for you to do so. Never while on a social dance floor at a Milonga. Ever. Again, not even if they ask for it.

When to give Feedback ? When someone has specifically asked for it, and/or when you have cleared with them first if they would like to hear some feedback about their dance. But only under those conditions. Any other time, it is not appropriate to do so.

Asking For Feedback ? There’s a desirable way to ask for feedback and dare I say it, an effective one. And there is an ineffective method of doing so. Lots of them actually. By example a very desirable method would be to say directly to someone at a practica, “I would love some feedback about my embrace from you, if you feel comfortable giving it ?”. Notice that it was specific and not nebulous. The questioner asked specifically what they wanted feedback on and didn’t just leave it at “Feedback”. Also notice that the questioner gave them the opportunity to not participate at all, “if you feel comfortable giving it”. This part is absolutely critical to getting direct feedback and making someone feel ok with giving you feedback.

Asking To Give Feedback ? It’s important to recognize even though you may have tons of information to hand someone about their dance, that they quite honestly don’t want to know about it, especially from the likes of you! So how do figure out if someone wants feedback ? Ask them. “Would you like some feedback about your embrace ?” or their walk, or their ochos. And so on. If they don’t want any, and no coaxing either, then you must, absolutely must let it go. 

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try these articles

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What To Feedback ? This one is difficult but there are generally four areas that we want to talk about when giving feedback, and really 5 if we’re being detailed. And of course we’re being detailed.

1.) The Embrace (yours and theirs)

2.) Posture (yours and theirs)

3.) Compression, Pressure, Force, Rigidity, and Resistance.

4.) Walking – The stability and equilibrium of the walk.

and 5.) Applied Disassociation. (Pivots! Oy!)

Most times your feedback will be limited to item #1, the Embrace. Relating that something isn’t working. But really the rest of it comes into play when you start to think about it. And again, we’re using “I” statements to reference this stuff. “I am feeling a lot of _____________ (pressure, tension, force, lightness, softness) from your right arm along my back. It feels _________ (nice, not nice, painful, hurtful, etc).” The more detailed you are with this stuff the more helpful it is.

Too Much Feedback ? Yes. You can in fact overwhelm people with too much feedback and this happens a lot especially with beginner teachers, they suffer from this problem as well. So here’s a good rule of thumb. No more than 3 things to feedback in one dance. And really just the one. So you can mention the 3 things that are going on. But focus on just the most prominent one and stay with it until they get what you’re on about.

The Last Word. The fact is that just because you gave someone feedback, does not mean that they’re going to change magically. Recognize and understand that people like what they’re doing. They don’t see anything wrong with it, or right with it for that matter. A good portion of the time what they’re doing is unconscious behavior and because it is that, you may have to remind them every few steps that they’re doing X, Y, and Z. Which is to say that most people will revert to what’s comfortable for them and instead of doing what’s right for the dance, they’ll revert to what’s comfortable for them to do. And more frequently than you would imagine. Like as in, every 2 or 3 steps! So reminders are kinda helpful here, and lots of them. At the same time, you have to remember something, that too many reminders and you’ll drive someone crazy. So it’s important to let a few go by and then remind someone, let 10 more screw ups go by and then gently remind them and so on. Oh and by the way, if you like this website, and the resulting videos, and want to actually, oh I don’t know…become a better dancer ? you might want to hit that annoying button in between the paragraphs…just saying. 😉

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