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

Head Tilt

The tilt or position of one’s head (for lead or follow) is far more important than you might imagine. First and foremost, where the head points the body tends to follow. There’s a reason for this, your equilibrium, contrary to popular belief your balance is not generated in the center of your belly. This ‘myth’ is better known and often repeated as to indicate your ‘core’ muscles. This is a lie.

Read More »

More Classes

At some point along the curve of your tango life, continuing to take classes seems like a really stupid idea. You’ve learned everything you need to know to get around the floor. Practice isn’t really that important any longer. And going to Milongas is really the important part, so who needs to practice ?

Read More »

Learning Castellano

Learning to speak and write in Spanish can be lots of fun. Doing so can really force you to understand that your own language is really wacky, that it is fully of colloquial phrases that when translated is a literal mess of confusion, and furthermore forces you to really start looking at your own culture and choices. However when it comes to Argentine Tango, and ultimately going to Buenos Aires, the question comes up … “Do you really need to learn to speak Spanish ?”

Read More »

Facility

Facility can be, but is not limited to, Familiarity with Vocabulary, Execution of the Vocabulary, also it’s about Balance, Equilibrium, Kinesthetic Awareness, Kinesthetic Listening, The Neurology of Leading, The Neurology of Following (which is how you respond to something from a follower’s perspective), Proprioception, and last but not least Extending Your Capabilities. We’ll get to that last one in just a bit. Two of the more common aspects of Facility are Execution and Proprioception. So let’s quickly review what Tango Topics means when it refers to these ideas…“

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Watching The Feet

Put simply – If you can see your partner’s feet while dancing with them…there’s a problem. The problem ? Well actually there are several that you’re completely unaware of, below are just a few of them….

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Fear of Milonga

The fact is that some folks have a justifiable fear of Milonga! No not the dance party, nor the music at the milonga, no…this fear refers to the abject fear that is expressed by some people when Milonga music is played because now they must dance ‘Milonga’ moves to milonga music. The reason ? Either it’s the speed at which it is seemingly danced, or the music that is perceived to be ‘fast’, movements/steps/patterns/figures that are associated and specific to Milonga. Some people just freak right out when it comes to milonga. Some people actually break out in a cold sweat at the very thought of it, Lead or Follow.

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La Viruta

Let’s get the details out of the way. The sight lines are awful. It’s dark, pitch dark in certain parts of the room. It’s crowded, and hot even with the A.C on in the ‘summer’. The drinks are expensive. The tables are small, assuming you can find one or have reserved one (which is recommended). The ‘hot’ area, meaning a place to ‘get’ dances, in the room is in front of the bar at the back left side of the room, and the entrance fee is on par with everywhere else (see end). There’s a restaurant upstairs, and on Mondays and Tuesday nights there is Salsa there. The rest of the week, it’s all Tango baby. There are classes nearly every night of the week, for different levels.

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Presentation Tango

There is a very popular idea in Tango that gets paraded around a lot, an idea which gets confused with Social Tango which is NOT Social Tango at all but rather it’s about the steps, patterns, and figures is known as ‘Show’ Tango, ’Scenario’ Tango, ‘Stage’ Tango, ‘Fantasia’ Tango, or Presentation Tango.

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The Former Salon Canning

There are very few places left in Buenos Aires that still evoke the majesty of Tango’s yesteryears, for many, that is Salon Canning. From the moment you walk in the door, down the long hallway towards the white double door ‘entrance’ to the dance floor, you know you’re in a special place. The walls are lined with pictures of dancers that have come and gone, artwork and photography from local tango artisans. The entry hallway almost looks athenian, almost. It may help that the columns outside add to that idea.

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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.

Read More »

10 REASONS TO SUBSCRIBE

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1.) Free Users get to see 5 of the 125 Different Tango Topics on the site. Plus you get access to the entire Tango Reminders and Tango Ideas sections of the site. These are short form Topic descriptors with a little detail about the topic and the video.

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5.) Basic, Premium, and Premium+ users get the ‘Dancing Perspectives’ & ‘The Soup’ sections of the document you just read (Lead, Follow, and Dancing) which are open to you. And that’s where all the good stuff is 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. 

DROP ME A MSG HERE

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