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Head Tilt

The tilt or position of one’s head (for lead or follow) is far more important than you might imagine. First and foremost, where the head points the body tends to follow. There’s a reason for this, your equilibrium, contrary to popular belief your balance is not generated in the center of your belly. This ‘myth’ is better known and often repeated as to indicate your ‘core’ muscles. This is a lie. Your balance, stability, and equilibrium is generated from one place only in your body: your inner ear! And where the inner ear points….the body tends to follow suit. So in effect tilting your head to either forward, either side, or back will tend to generate a state of non-equilibrium in you, and thereby you’re now leaning, and more likely hanging on your partner in a variety of Tango moves (as a Lead OR as a Follower!).

In short, the tilt of one’s head causes an orientation issue that you want to avoid. Best practice ? Lift up your head! Pretty simple. Right ? Wrong. You’re so used to doing this that you’re not even aware that you’re doing it. For Followers the practice is to tilt their heads into their lead’s shoulder and neckline (mostly it’s a height thing). For Leads it’s watching their Follower’s feet. Neither of which is desirable.

There are two other reasons why Dancer Head Tilt is an issue, aside from the aforementioned: 1.) Physiological and Kinesthetic Body Posture. 2.) Visual alignment.

1.) One’s body posture, or just posture, is the stance that you take with your own presence on the floor and how you move, and the stance that you take with your partner. By tilting your head towards or away from your partner (either as a Lead or a Follow) you are honestly, disrupting the physiological posture that we want to generate in every move, at every point along the curve of dancing with someone. By tilting one’s head you are compromising that physiological posture!

2.) This may come as a surprise but when you tilt your head consciously, or unconsciously you are breaking the visual line that you generate with your own body. Now add in to the equation that you’re breaking the line of the couple by tilting your head and you begin to see that you have a problem. We do not want to do this in any way, shape, or form.

So in short: Lift up your head! However, as was pointed out earlier. The solution is not that simple. The reason ? Ingrained habit. You will go back to tilting your head repeatedly with every step because it’s what’s comfortable for you. Keeping you head in a floating but neutral position is difficult for someone that’s never done it before. It will seem like work at first. But once you start seeing it in your posture, and start the correction process, it will take you some time to unlearn what you have learned. Warning: Fixing this issue will create other unintended issues, you will find that your balance and stability will change as a result. You will find that your motions and vocabulary will change as a result and become seemingly more difficult for a while. The reason ? Because your center point has changed. Duh! Give it some time, it will get better.

Good luck.

MORE REMINDERS

The Follower’s Molinete

Typically referred to as ‘The Molinete’. This is the ubiquitous turn that everyone uses, even though there are 7 more that are equally as useful, it has the default turn for most dancers. The part that you should pay attention to is the second word in that phrase, ‘Follower’. This is Follower specific vocabulary. There is a Lead component to it, which is called a ‘Giro’ (translated from Spanish to English it means “I turn”) , but this is really all about the Follower.

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The Follower’s Work

The Follower’s Work. These words may come as a surprise to you dear reader considering that this page has seemingly ‘bashed’ or disparaged the role of the Follow in any number of ways, however: The role of the Follower is work. This is by no means a complete list, but just a taste: A Follower must master in order to ‘dance’ with a particular Lead their stability, their walk backwards, and forwards to the side without wobbling.

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It’s Too Late

Frequently most dancers after they ‘learn’ something will fail to solo practice it, as well as use it at a social practica, which as a result fails to deepen their fluidity when dancing so that when X, Y, and Z is led or followed they ‘miss’ it and hesitate. Thereby creating the impression that they’re inept dancers.

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Compression

Compression’ means that you’re either pulling your partner into you and/or at the same time restricting their movements in a myriad of ways (hand, arm, head). As a Lead this typically manifests itself with your right forearm. As a Follower compression is typically done with your left forearm around your lead’s shoulder (tsk, tsk, tsk, it should not be there).  

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Practice with Tango Sticks

At some point along your tango curve, you have wanted 1.) to practice a step, a pattern, or a figure. Or 2.) you have seen something that you want to try out. Or 3.) you’re imagining an idea of how something might work and want to try it. In all three of these instances, you will need a practice partner. You’ll need to schedule their time against yours. And once you’re in the same room with them, balance their issues of how they do X vs. how you engage X. And once that challenge is overcome then it’s getting into the idea of what it is you had in mind to begin with. All told, this could be several hours or days between the idea and the actual doing of it.

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The Unseen

There is an unspoken, unwritten rule with regards to Argentine Tango. Actually there are a few of them. However, one of them is that once you are acknowledged you are now persona grata. However, if you are NOT acknowledged….then you are Persona Non-Grata. You don’t exist. They don’t see you. And the more that you stand in front of them, the less that they’ll see you. You are the ‘Unseen’.

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Wood Floors

The toy of choice for most dancers is a ‘Sprung’ floor! That’s a work of art, science, and pure magic. Sprung floors are to dancers, what honey is to bees.  A ‘Sprung’ floor ? What’s that ? A Sprung floor is a dance floor that easily absorbs shocks, giving it a softer feel. Such floors are considered the best available for dance and indoor sports and physical education. They enhance performance and greatly reduce injuries.

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Being Criticized

The truth is that this is critical feedback, about what you’re doing and how you’re doing it. Hopefully that critical feedback or criticism is done with exacting detail, which is needed for analysis, breakdown, and then reconstruction or rebuilding your posture, walk, embrace, vocabulary, and/or musical interpretation. Without that critical feedback, you will continue to make the same mistakes over and over again thinking that everything is happy and lovely when in fact it’s not.

Read More »

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You could watch Tango YouTube 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!

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