Posture

As has been said, many times, which is exceptionally important, and is frequently mentioned by many dancers almost immediately is: Posture. 

Posture for most people boils down to the following two lines:

“Head up!”.

“Elongate your Spinal Column.”

Sounds easy enough, right ?  Just lift your head up, and then ummmm ‘elongate’ your spinal column. 

The ‘elongate’ part is where most people get confused. Why ? A variety of reasons, but mostly because their idea of elongation from a posture line of reasoning is usually muscled force, to pull the spinal column upwards. This ‘pull’ or elongation once achieved is usually held in place by tension or rigidity to achieve a ‘posture’. Sitting upright, straightened back, ramrod straight, that sort of thing. This is not ‘good’ posture. It’s actually work. And the wacky part is that it does far more harm than good.

Usually.

Further still it is usually an act of will or a force of will only last for a moment or two, and then the dancers will revert back to what is comfortable for them. Completely forgetting about it because they’re ‘dancing’ now and there are way more important things to deal with. And yet what they don’t realize is that it is their posture which defines everything that they do! They don’t see the relationship between their movements and their posture. Their posture is in everything that they do. Everything. For a lack of a better way of putting it: Posture creates the visual lines that they’re generating, everywhere. From their walk, to their embrace, to their vocabulary choices, within the muscial construct. Good posture is what can and does create a good dancing experience from both sides of the embrace.

As far as muscled force is concerned, we ideally don’t want to do this. We actually want a relaxed lower back and this is the hard part of Posture: We ideally want to engage an upright posture without rigidity, tension, or force in your lower back! Your muscles in your back should be pliable! This is easier written/said, than done. 

In fact training yourself to do precisely this takes time, patience, and practice. One place to start learning these ideas is with Alexander Technique. Alexander Technique is a way to use your body to optimize movement and posture, without using tension or force to do it.

MORE REMINDERS

Practice (part 1)

For most people the idea of practice is about practicing the dancing part. Not about the actual "practicing" part. Practice really wants to take apart what one does, how one does it, while asking for feedback & input. Then asking questions, and then figuring out where things aren’t working and why, to smooth out the rough edges of something, and then continually refine, and refine, and refine it so that it becomes effortless.

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Waiting vs. Listening

What is Waiting Vs. Listening ? In it’s simplest form this comparison deals with the axiom of Followers are told to "Wait for your L/lead", and instead implies that there is another idea sitting there that almost never gets talked about and in today’s Tango world almost never gets used, which is "Listening".

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Tango Improvement

You say the words, “I want to get better”. You mouth them as you watch the latest performance tango video on youtube. While at the same time, the thought flashes in your mind that you should schedule a private or two with X. ‘X’ being the local variant that teaches what you ‘believe in’. This teacher is also the one that you have gone to before and from your perspective has ‘helped’ you.

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Moscow For Leads

There’s a row of women sitting in Moscow (usually several rows deep actually). Only these rows…are every Lead’s fantasy! Yup. Truth. Let’s get something straight. The food is awful. It’s usually effing cold anytime after september and before june. Getting in an out of Moscow (Russia) isn’t exactly a piece of cake (for an American), there are hoops to jump through (read that as VISA issues). It is not exactly cheap. And there is rampant crime in ways you can’t even begin to imagine.

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The ‘Classy’ Move

Truth be told, the beginner dancer that does this will make themselves, and their dancing partner look absolutely fabulous regardless of how the dance went. What is it ? It’s The ‘Classy’ Move.

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The Negative of Tango

There is distinct negative side to Tango. Ask anyone that has done any level of work to improve their dance, and they’ll tell you that it is at once eye opening, again blistering, noxious and wholly demoralizing. Demoralizing to the point where they want to quit dancing altogether.

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Architecture

Architecture. There are certain things we want to do with our bodies in relation to Argentine Tango and Social Dancing, one of them is to ‘close our fingers’ or bring our fingers together in every possible place where we lay our hands on our partners or they come into contact with our partner’s bodies.

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All Night Milonga ?

Yes you read that correctly. There are places in the world where a Milonga does (theoretically) go ‘All Night’. The idea is very romantic, that you’re dancing until the sun comes up. ’Theoretically’ ? Because ‘all night’ has different meanings in different places. If, however, we’re talking about Buenos Aires, there are 3 Milongas that do in fact go all night long 1.) La Viruta (on the weekends), 2.) Salon Canning on Monday nights (usually until about 5 am ish), and 3.) El Yeite (Pron: Shay-tay). There are others that go ‘late’ to 4 am, but not necessarily until the sun comes up.

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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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