Lethargy (Moving Too Slow)

While this isn’t necessarily an ‘age’ thing. It is a human thing, we tend to move at the speed at which we think is ok. Put us in front of someone else and their idea of speed, and our idea of speed, or how fast something should be done is shall we say a little wonky. Very infrequently do we do ‘X’ at the same speed as someone else does ‘X’. There’s always, always, always a difference. Now put this in the context of Tango, where there is a definitive lead, and a definitive follow activity, and that’s where things go right off the rails. And that descriptive is without music! Add the music into the equation, which is acting as a time manager, and it’s anyone’s guess what will happen!

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.

What’s about to be said is going to sound like Follower Bashing, it’s not, it’s an observational fact that you don’t want to hear for a variety of reasons, most notably is that Followers get the short end of the stick more often than not. A greater number of Followers suffer from the problem of Lethargy for a variety of reasons. Why ? Frequently Followers are told to be passive, to ‘Wait’ (the use and application of the word creates a weaker Follower on multiple levels). They’re told this over and over and over again. So much so that they ‘wait’ even when they don’t have to. It becomes a default behavior in them. And then you have Leads (the person, not the action), that quite literally reinforce this idea by saying “You have to ‘wait’ for me”. So it’s no wonder that this problem exists. As a result, the Follower is slow to react, and the sensation is as one is ‘moving in quicksand’ or a ton of bricks.  Mind you neither of those are true but that’s the perception.

To be fair, Leads also suffer from this same problem as well. (Didn’t see that one coming, did you ?) They’re either off-beat, or off-execution by a second or two, or off-response response and that creates this wavering lag time that just looks like said Lead doesn’t know what they’re doing. It’s like missing a bus by a full second and then running after it. Only in this case the running after the bus, lasts for an entire song! Talk about embarrassing. Seemingly never to catch up. That’s not true actually. But that’s the perception. Just to clarify, ‘off-response response’ refers to when a Lead (the person, not the action), who is already late in an execution, feels a Follower has executed ‘Y’, the Lead’s own response to the Follower’s response is slow or lethargic!

There is a fix for this problem is to employ the practice in solo practice of: Overshooting to Underdo. Meaning ? You practice walking, extensions, and foot placement drills, at 90 or 100 beats per minute instead of 50. The effect is that you will eventually translate those practice drills to the dance floor as second nature. And at that point, we have another issue ‘Speedy Gonzales’, and then we have to talk about ‘Metering’ but that’s another topic for another day.

MORE REMINDERS

Tango Reputation

No matter how hard you try (positively or negatively) you’re going to acquire a ‘Tango Reputation’. Meaning ? How you engage socially, how you dance, who you dance with, how ‘good’ you are, how often you dance, if you teach, where you teach, who you teach with, whether or not (if you teach) you dance only with your students or with others, if you teach others while dancing (tsk, tsk, tsk), whether or not you dance milonga, how good your milonga skills are, whether or not you lead and follow or not.

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Good Lead ?

There are many things to look for in a ‘Good’ Lead. Like for instance, the ability to keep time within the beat structure meaning that they’re placing their Follower’s on beat and not necessarily themselves. Still another is their posture which is reflected in the Follower’s posture as well. Still one more is the ‘cleanliness’ by which they execute a particular piece of vocabulary. That said ‘execution’ is done sharply, with snap and polish, and shows off their Follower, and in doing so, themselves. 😉 Those are some good signs of what qualifies as a ‘good’ lead (the action, not the person).

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Wood Floors

The toy of choice for most dancers is a ‘Sprung’ floor! That’s a work of art, science, and pure magic. Sprung floors are to dancers, what honey is to bees.  A ‘Sprung’ floor ? What’s that ? A Sprung floor is a dance floor that easily absorbs shocks, giving it a softer feel. Such floors are considered the best available for dance and indoor sports and physical education. They enhance performance and greatly reduce injuries.

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The Female Lead

This post isn’t about the benefits of learning to lead for the woman that dances, of which there are many. No. Nor is it about the hyper awareness of all the things you do not want to do as a Follower, which is going to happen by default. Nor is this post about the supposition that women of a certain age swap shoes and end up leading because no one wants to lead them anymore. Not. Nor is it about the fact the simple fact that some women do enjoy leading quite a bit and are actually (contrary to what you might believe) pretty good at it. No. Today’s Tango Thought is all about Women that WANT to Lead! (Just as a side note, most of this stuff also applies to the male lead too, you need the reminders).

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Learning The Other Side

Let’s get right to the heart of the question, "Why on earth would anyone want to learn the other side of the embrace ?". The answer to that question is actually not a singular answer, there are actually 5 good reasons why you learn the other role that you may or may not disagree with. They are as follows:

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Discipline

Ballet dancers know all too well that a good dance teacher is strict, hard as a nails, and won’t let you get away with anything. While it may be hard on the body, and hard on the ego, the fact is that dance teachers like that are a godsend. However, the teacher is only one component to the educational process.

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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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The Neurology of Leading – Part 1

There’s a component to Leading that you cannot even begin to assess or even address that happens because we’re in the line of dance. All of us have spent time in practice sessions, or in working with somebody one on one, or doing solo practice work, or class time, or solo practice time, or solo class time with your teacher. All of that is warm up to getting you to what happens in the line of dance. This is what I refer to as the neurology of leading.

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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 Walking Debate

A good portion of Follower’s close their eyes while dancing. The Lead, obviously, can’t close their eyes, but they do cast their eyes towards the floor to watch their Follower’s feet (tsk, tsk, tsk). They close their eyes for a variety of reasons: 1.) To be able to concentrate better. 2.) To ‘feel’ their partner in a more ‘connected’ way. 3.) To not be so distracted by the rest of the room. 4.) To feel more intimate. 5.) To tune out.

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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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