Follower’s Left Arm

…Over The Lead’s Right Shoulder ?

You’re going to see this, and quite honestly, from a whole swath of Followers from your run of the mill local social dancer to professional doing this. Is this desirable ? No. Why ? Several reasons. Two of the more common reasons:

1.) There’s no information there. None. Zip. Zilch. Nada. Nothing. Information ? Meaning that as a lead turns to their left or right there’s a wide swath of pre-lead information that is sent throughout the body. However most of that information is located along the one portion of the body where turns are possible: The Spinal Column. And in specific t7, t8, and t9. Those 3 vertebrae are the central point of all the lateral turn information, not to mention the muscles and tendons that are attached to them. The further away from these 3 vertebrae that you are, the more the turn information or pre-lead feels like an ‘echo’. Which means placing your arm around the lead’s shoulder line is a little like using an unplugged kitchen appliance, and about as helpful, or “not so much with that”. The reason is really simple because the lateral turn information, happens but you, as the Follower, hear/feel it about a second behind when it actually happened. There’s a reason why it’s done (2 in fact), one is because it’s what was done ages ago, and second is because every ‘cool’ follower does this. Both of these reasons do not tell you why you should place your arm along and around your lead’s shoulder line. What is the purpose of it ? Answer ? There isn’t one. It’s the visual iconic look of what traditional tango looks like. At one point in time it’s sole purpose was to ‘hang’ on your lead for dear life while they flung you around. However as modern tango has changed – evolved, this embrace construct, bastardized from it’s original construct, is still with us getting in the way of the Follower getting the necessary information that they desperately need.

2.) It’s a body contortion. It’s that simple. You are contorting your body into quite literally being in the lead’s armpit and as a result hanging off the side of their body as though you were an accessory. Meanwhile they’re watching your feet, and the floor, and their head is in the way. And every time you turn, you’re literally racing to catch up with your lead.

To be fair, there are some that will read this and vehemently disagree with it. However, I would like to ask you 2 questions before you launch into said tirade against what seems like some young upstart telling you what’s desirable and not desirable: The first question you already know, 1.) What’s the purpose of this ? And if your answer is ‘connection’, think again. Connection is a fallacy and illusion that you have in your head. If you mean Physiological contact then 80% of your information contact comes from the body on body contact that can occur.  If you mean something else, then please state that in your need to rip me a new one. But understand what you are defending. A visual construct. 2.) Doesn’t that hurt your shoulder ? Answer ? YES! Quite truthfully you have trained yourself after a while to build up a series of muscles to allow you to place your arm there. However, that doesn’t necessarily mean that it’s a desirable thing. Ideally we don’t want the arm to go above the shoulder line. Further still, that’s work. More work than you need. And the shorter the Follower the more difficult this becomes. So ? Not so much with that.

Just as a side note, if you want more information on this stuff, if this has piqued your curiosity, you can purchase the Embrace Bundle from this website, or register for free and get access to some helpful materials (dated: about 60 videos), and then consider subscribing. 

One point of note, a good portion of Follower’s will hear this advice above as blaming the Follower! So the thinking goes, here you have one more male lead teacher/dancer blaming the follower instead of what’s happening for the lead (or so you assume). That you have a Lead that doesn’t Follow (I do, and socially!), doesn’t know diddly about how to Follow (I teach this stuff frequently), hasn’t danced in heels…ever (Not so. I used to own a pair of black velour comme il fauts in my size), and doesn’t take the Lead to task for what’s going on for them! All not true. As evidenced herehereherehere, here, here, hereherehere, and here just to name a few. This site, equally points out the issues with both roles, not just one. This stuff is a lot to take in all in one bite. and it’s hard enough with just one role to hear just one piece of the topic when there are multiple issues that need to addressed for that role. This is one small bite. 

MORE REMINDERS

The Male Follower

This post isn’t about the benefits of Following for the Male that dances, of which there are many, such as hyper awareness of all the things you do not want to do. No. Nor is this post about dancing in heels (which can be quite educational on many, many levels), nor the benefits of actually doing that work. Nor is this post about the simple fact that some men do enjoy Following quite a bit (the author included) and are actually (contrary to what you might believe) pretty good at it. No. Today’s Tango Thought is all about Men That WANT to Follow and some pointers that you want to think about doing.

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Heel vs. Toe (Lead) ?

Today’s Thought is a very old debate with a twist, as you’ll soon see. The Debate ? To step forward (or side) with a Heel strike first OR a Toe point first. So let’s debate, shall we ? The Heel Side: This side of the debate says that you can and should, when stepping forward, step forward as if you were walking on the street, normally. You would use the heel in a natural way, allowing it to strike the pavement or the floor (in the case of dancing) as you would normally. There’s nothing about this idea that is new. This is something that you don’t necessarily need to learn a whole lot about, as it just ‘happens’. There’s not a lot to it really.

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Magical Improvement

“She’s not magically going to improve just because you ‘show’ her what she’s supposed to do at that moment.” To make this non gender specific, because this axiom applies to both genders, and both roles. As well as teachers and students. Some teachers know this truth, some teachers learn it the hard way. Clarity: The – “supposed to do” part above. This idea frequently occurs where you have a male Lead that has an expectation of X being followed properly, where X is Traveling Ochos, Volcada, Milonguero Turn, etc. And when it doesn’t they stop their dancing and then show the Follower what was intended. And here’s the magical part, they keep showing them, hoping that it will change the Follower’s behavior and frequently it doesn’t.

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Body Contortion

A good portion of people come into the embrace, Lead or Follow, and in one way, shape, or form, contort their bodies to make the dance work while dancing, rather than employ proper technique.

Contort ? Yes. For example: As a Lead or Follow they might dance with a ‘head tilt‘ towards (buried into) or away from their partner, or as a Lead they’ll employ ‘waiter arm and hand’, or as a Follower they’ll dance in their Lead’s armpit, twisting their body to the side, and un-leveling their shoulders. This is contortion. 

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The ‘D’ Word

At the beginning of our Tango lives, most of us who start out taking a weekly series to get our feet wet, just so that we can say we ‘learned’ to tango. If only that were the end of it. It’s not. The classes never stop really. If you want to improve. If you want to get better and better dances with better partners, then you need to improve.

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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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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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Men (Age)

Welcome to the Department of the Obvious Department. Today’s menu of the Obvious includes: Men not asking for directions when lost, Men over talking Women, Men squeezing the living daylights out of their partners, and last but not least the Age of a Man has nothing to do with his ability to get dances!

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5 Reasons

Why does someone enter the Tango world ? What drives them to engage in Argentine Tango ? Not what makes them stay but why do they get involved with Argentine Tango ? There are commonalities to why someone walks this pathway, no pun intended. These are distilled down to about Five Common Reasons why someone enters Tango. These are the reasons why and not the reasons why someone stays in Tango. Those are very different reasons, but rather why they started dancing in the first place.

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The Shoe Lip

Today’s Tango Thought is a bit of Tango minutiae that seems unimportant at first, but is in reality very important actually. It is an awareness that can help you to understand why certain kinesthetic instabilities (regardless of gender) exist: A fair number of street shoes, male or female, have a thick hard leather construct known as the ‘Sole of the Shoe’. The Sole serves several purposes, one of which is to protect your feet from harm, still another (which relates to today’s thought) and secondly it’s what we call the ‘Shoe Lip’.

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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!

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