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

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 ‘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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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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On My Balance

Frequently with Argentine Tango we use language that we think is descriptive of what we’re doing but in actual fact is either not that or so far from the mark it is more confusing than anything else. Before we go any further, it is possible that in reading this that you may not see the issue at all. That you know what the speaker meant, and that’s the important part, right. Wrong. That’s the problem right there. The inference. If you have to infer that X or Y is occurring then there’s far too much ‘wiggle’ room for errors in understanding to crop up.

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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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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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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 Practica

The idea of a Practica is ‘theoretically’ to Practice what you have learned. To try out what you have been shown, with multiple partners, as if you were in a class rotation. It is ‘theoretical’ because while the theory is nice, the reality is a little different.

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