Critical Thinking

‘Critical Thinking’ is required to improve your dance.

Honest.
Dispassionate.
With extreme prejudice.

First and foremost, what is ‘Critical Thinking’. Webster’s Dictionary defines it as: “the objective analysis and evaluation of an issue in order to form a judgment”, and that’s just about right. However, when we apply this to Argentine Tango the definition gets even more refined:

“the objective analysis of one’s movement, foundation, vocabulary, and musical interpretation, as well as the evaluation of an area of concern in order to form a point of reference towards changing something, or how something is done to make it visually appealing, and/or kinesthetically desirable from a physiological perspective.”

This is Critical Thinking as it regards Argentine Tango.

But what does any of that actually mean ?

First and foremost it means that you must look at, and then slow down what you are doing, using video to review, then analyze your dance from every aspect, your walk, your turns, your embrace, your posture, your head position, your hand positions, your fingers, how you’re placing your feet on the floor, how they’re landing on the floor, what part of the foot you’re landing on (not just heel or toe), are you stable, are you balanced, are you hanging, are you pushing, are you pulling, are you compressing, are you using or employing force, tension, and/or resistance ? Secondly it means that your internal analysis must be honest, and without prejudice towards you thinking that you’re doing better. There is always a bit more that you could be doing. And lastly, This is really about self-honesty. If you end up feeding yourself a delusion of where you’re really at then you’re defeating the whole purpose of study in the first place.

Truthfully this is asking questions and seeking answers. It is only through the detailed examination, as hard as it may be, as honest as it may be, that you can and must change your dance. This is only a piece of critical thinking. The part that most people hear in those questions above is the  criticism. That is not critical thinking. Critical Thinking requires self-criticism. It requires that you show up, look at what you’re doing and say “Is all that there is ? Can I be doing this better ? More economically ? More effortlessly ? Am I pushing too hard, am I pushing ? Am I compressing ? Am I stable ?”. Note that this is all focused on the self, and NOT the partnership. It’s not blaming or shaming or directing the areas of concern at anyone else except yourself. Critical thinking requires a deep analysis of your skill set and then actively seeking a better way to accomplish the same goals without so much damned body contortion or work. If there’s pain, and/or pressure of any kind, then that’s less than desirable.

MORE REMINDERS

The Same People

You have local friends that you have acquired through the dance. They met you at a very specific point in your tango development. You’ve danced with them over and over again. You almost never say ‘no’ to them because they’re fun to dance with or they’re nice people. Over time you settle into a nice, almost comfortable routine of your dancing friends, where you’ll go to the practica or milonga,

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Snobby People

The fact is that there are snobby people everywhere. There are always going to be the ‘holier than thou’ among your local group, and really anywhere you travel. The fact is that you can’t get around them, you have to deal with them, and there is a way to do that. Ok, truthfully you could avoid them all night long if you wanted to but that doesn’t help you very much.

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Discipline

Ballet dancers know all too well that a good dance teacher is strict, hard as a nails, and won’t let you get away with anything. While it may be hard on the body, and hard on the ego, the fact is that dance teachers like that are a godsend. However, the teacher is only one component to the educational process.

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The Row of Men That Stand

There’s that row of men that stand at every milonga. They hover. They waver from side to side. They stand with their arms crossed. All by themselves. They never sit, and they seemingly never dance. There’s usually a row of them, more than 3 or 4. And no matter what happens, you almost never see them dance. There’s a reason for that. It’s because a good portion of the better Followers in the room has had a less than desirable experience with them.

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The Seasoned Dancer

The dancer who has been dancing for a certain amount of time has passed through the multiple, multiple flirtations. They’ve had the flirtations that lead to attractions, and then the attractions that turn into dalliances, and some that go beyond that.

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Practice (Part 8)

The question of what to practice for most dancers is really simple. The belief is that you should practice ‘dancing’. And this is not always the case. To be fair, while Tango does require a neurological adjustment on multiple levels which can only be attained from actual dancing – this is called ‘the neurology of dancing’, this is a given. However, in order to get to that place where refinements can actually occur in one’s dance, one has to practice, and that practice is not, so that we’re clear, with a partner, it is individually or solo practice.

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The Non-Gender Cabeceo

What is a ’Non-Gender Cabeceo’ ? A Non-Gender Cabeceo works exactly the same way that a Gendered Cabeceo works. There’s nothing special or different about it. The practice is exactly the same regardless of Gender, or at least it should be. If same sex dancing, or role fluidity, is permitted at Milongas, Marathons, and Encuentros, then the same rules apply in a Gendered Cabeceo.

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Where’s The Fun ?

Believe it or not, the ‘fun’ part is everywhere. You are focused on just the outcome of the dancing part. The immediate hit that you get from dancing. But what if you found out that you’re only scratching the surface with Tango. What if you discovered that you’re missing a very important aspect that not only can change the dance from what it is today for you but for it to go far deeper than you ever imagined. What if you found out that the drive to be better is not only a requirement, but it’s the gateway to dancing with better and better partners that you only dream of dancing with but can do because you changed your perspective a bit ?

Read More »

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Keep something in the back of your mind: What you’re seeing in a youtube video is a couple that is performing for the 15th row for a room full of people. They’re not social dancingWhereas this website is all about ‘Social Tango’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They are showing you flashy moves as a presentation, to show off! But not stopping and talking about how this works which is what you need to see. This website and all of it’s content show you the how and  why you’d want to put that piece of vocabulary there, or how to make things work. This website is all about those things and more!

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!

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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