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

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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Wine & Tango

Stop and think about something for a moment: Wine is alcohol (duh). Alcohol is a depressant, not a stimulant, it lowers our inhibitions, and ability for rational thought. It allows for us to do things while under it’s effects (inebriation) that we wouldn’t normally do. Like for instance, ‘drunk dial the ex’, or taken to the extreme – driving while intoxicated (tsk, tsk, tsk). Typically the average ‘wine’ drinker never gets beyond the tipsy stage….they can ‘hold their liquor’ as it were.

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The Row of Women That Sit

They’re at every milonga in the world (with an exception or two – Russia & Asia). Every. Milonga. THAT row of women, of a certain age, and a certain disposition, that for a few valid reasons (pretty or not) who are sitting, and not by choice. Most have been sitting for more than an hour or two.

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The ‘Right’ Shoes

Some day soon, you’re going to want the perfect pair of shoes. These shoes in your mind, completes the Tango image you have for yourself dancing socially. They make you look elegant. They make you feel like you can do anything. Mind you that image is an illusion in your head, but let’s not quibble about reality. These shoes are either handmade in Italy, Istanbul, Buenos Aires, or somewhere and/or something in between. They’re the shoes you always dreamed of. They’ve got all the features that you believe will allow you to become, finally, the dancer that you’ve always wanted.

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Couple Exercises

There are lots of really good tango exercises for your feet, your balance, your stability, but there aren’t so many for the couple to practice. Or so you would think. The really obvious ones are 1.) The Molinete Together Exercise. 2.) The No Arms Exercise. and  3.) The Walk Together Exercise.

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Physiological Contact

There is one aspect of The ‘Connection‘ Fallacy that comes up a lot and that’s the idea that there is some mystical/spiritual/magical way in which we communicate in the dance. That communication is stated as how our ‘connection’ is to someone and them to us and how well we ‘connected’ with each other. Rubbish! Not to piss in someone’s Cheerios but that’s just magical thinking.

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The Birthday Song

The Benefits of a Birthday Song. There are a few, but important, benefits to having a Birthday Song for one or more people at the Milonga. 1.) From an organizational position, the Milonga Organizer can use this as a way to advertise the weekly Milonga. "It’s Miles’ Birthday, Come and Dance with him into the wee hours!". That sort of thing. 2.) It’s a way for the Community to come together and support one of their own.

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Giving Up Tango

There comes a point in your Tango life for one of several reasons where you find yourself in an odd place – the want to give up Tango. The most common reason is that you’re just not getting the same thing from the dance as you used to get from it. You go to Milongas. You find yourself sitting more, talking more, and dancing less.

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Tango Accents

You may not realize this but you have an accent. The place that you live in, the people that you dance with, the teachers that you have studied with, and last but not least, the variation of those ideas from the original, creates a local tango ‘accent’. Every city where Tango is danced has an accent which is specific to that place and to that place alone. Boston, San Francisco, Paris, London, Berlin, Moscow, etc. They all have one, up to and including Buenos Aires, especially Buenos Aires! The difference between your local flavor of Tango and say Boston, Paris, and London, is like night and day within a spectrum of ideas.

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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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