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

Men That Don’t Study

Men. Oy. Tango is hard enough, but adding ego to the equation just creates a whole other level of issues that most women can agree is a lot like a pissing contest. Before we lay into this like white on rice: Being fair, not all men have an ego when it comes to Tango. A smaller number of them do recognize that Tango is a study. As such it requires them to do their homework, on a regular basis. And ‘homework’ in this case means private study, solo practice, solo study, musical study, on a daily basis.

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The Unseen

There is an unspoken, unwritten rule with regards to Argentine Tango. Actually there are a few of them. However, one of them is that once you are acknowledged you are now persona grata. However, if you are NOT acknowledged….then you are Persona Non-Grata. You don’t exist. They don’t see you. And the more that you stand in front of them, the less that they’ll see you. You are the ‘Unseen’.

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The ‘High Season’ in Buenos Aires

What is the "High Season" in Buenos Aires ? It’s the period of time between December 15th and March 15th when several things happen all at once. 1.) It’s INSANELY HOT. It should be noted that sometimes this is called the ‘hot’ season. 2.) The traveling teachers return home to practice, and to build new routines. 3.) There’s a lot of tango touristas (you). 4.) There’s a lot of seminarios that happen. 5.) Did we mention there’s a lot of people ?

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Lethargy (Moving Too Slow)

Lethargy is moving too slow for the intended lead’s request (‘lead’ is the action, and not the person). What this really boils down to is the reaction time of the dancer that is a.) a lag from the time at which a request was sent to the time it was received. and b.) way in which it is done (the real speed issue). Note what’s missing from this definition, the roles of the dance! There is no blame in this definition. None what so ever. However, that is seemingly about to change. It’s not, but your perception of it will until you get to the end.

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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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Physiological Control

Control is a really hard thing to get. It takes a while to have precise, or precision, control over exact foot placement, which is insanely important. It takes time to build up the necessary minute control that one needs to have over one’s body. A millimeter here, a millimeter there, cumulatively, can make all the difference between a dance that sucks (for both parties) and one that is absolutely fabulous. Precision control is where all the toys are at.

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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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