LIstening (Following)

There is a belief that Following is really easy. It’s a snap. Most male Leads believe this fantasy because the better Followers that they’ve had the pleasure to dance with are really easy to lead (the action, not the person) so therefore it’s just easy in their minds. It’s effortless. Until they do the job themselves and then it’s all hands on deck and they realize that what they thought was easy is not easy, it’s hard work. All of this is made even more challenging by the 3 facts: 1.) The Lead’s embrace is usually constrictive, and restrictive, compressive, and sometimes even painful.  2.) The Lead’s choice of vocabulary is usually something that is rushed, poorly executed, and usually too rough on the Follower.  and 3.) The musical execution of those vocabulary choices. All 3 of those things have to work while the Follower’s technique must be sharp, clean, clear, elegant, and seemingly effortless. 

Following is not easy, not by any stretch of the imagination. One thing that makes the job very challenging aside from the 3 things above: Listening. This is not listening as in auditory sound, but rather in feeling. The tactile pressures of the physiological contact of skin to fabric or skin to skin in all of 5 of the major contact points of Argentine Tango. a.) Hand to Hand. b.) Arm to Arm. c.) Hand to Spinal Column. d.) Arm to Back. and e.) Torso to Torso. In all 5 of those contact points the Follower is listening, feeling, for minute changes in physiological pressures to ‘hear’ or feel an indication that X is going to happen.

Frequently, however, they are pushed, pulled, compressed, forced really to do X, Y, and Z when they’re not moving from a stable position, so ‘hearing’ anything at that point is nearly impossible as they’re just trying to survive not falling all over themselves. 

MORE REMINDERS

New York

Our little summary of dancing in New York City for the World Traveler that will be landing in NY soon and looking for some place to dance.

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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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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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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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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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Good/Bad & Dancer/Teacher

At the beginning of our Tango lives, most people go to a Tango Class to learn how to dance Tango. Some people throw caution to the wind and just go to the Milonga and ‘learn’ on the dance floor sometimes with positive but most of the time with disastrous results. And some people take the route of skipping group classes all together and start with one-on-one sessions to begin their Tango journey.

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Floorcraft

What is Floorcraft ? In it’s simplest form, as there layers and layers to this stuff, it is how to navigate the floor while dancing with your partner and not hitting the couples ahead, or behind you. As well as not touching the tables, and chairs. All the while interpreting the music, concurrently interpreting the beat and the musical pauses to fit the tango vocabulary while maintaining the spacing between the couples.

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Follower Bashing

All too often a good portion of Followers get the short end of the stick as it were. They’re blamed for missing this or that, not having enough resistance (a major no-no), not pushing, not leaning enough (false apilodo another major no-no), not stepping in the right place, not keeping up with the lead, etc. They’re blamed for a host of things from walking, to musical interpretation. After a while they develop a complex of just taking responsibility for almost everything that happens that isn’t desirable in the dance, instead of the Lead taking rightful responsibility for what’s been led! This is known as ‘Bashing The Follower’.

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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.

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The Waiter Hand

Another one that you’re going to see a lot of is the Lead who places his palm upward, flat, and outwards, sometimes fingers outstretched as if they were a waiter serving drinks at an upscale bar. The elbow is dropped, and the hand is well below shoulder level.

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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 dancing! Whereas 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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