Watching The Feet

(this thought is also discussed and seen in this video > Watching The Follower’s 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.

1.) We have this instinctive desire not to want to hit or hurt anyone, not to step on their toes, not to stub their toes or ours, for obvious reasons. And as a result we tend watch our feet and our partner’s feet so that we can avoid the dreaded ‘toe bashing’ that will invariably occur if we don’t keep an eye on things down there. Hence the desire to watch our partner’s feet.

2.) After a while watching our partner’s feet becomes second nature to us. While we will start the dance with our heads up, we’ll almost invariably droop our heads and then our shoulders so that we can focus on watching our feet.

3.) We have a fear of not stepping in the right places. We need to watch our partners feet and our own so that we can verify and validate that the step is in the right place at the right time. This is failure to develop proprioception. A very important skill that both roles must develop in order to dance well.

4.) We don’t realize it, but we’re actually breaking the visual vertical line of the couple each and every time we watch our partner’s feet.

and lastly…

5.) We will compromise our body position just so that we can watch our partner’s feet. We’ll turn our heads, and then our entire body, and further the Follower will move towards the Lead’s armpit (even more than they do already tsk, tsk, tsk) in order to watch the Lead’s feet. And the Lead will place them in the arm pit just so that they can watch the Follower’s feet.

Why does any of this stuff matter ? Honestly, several reasons –

a.) Visual: The visual vertical line of the couple is broken. We want to create a nice couple silhouette within the embrace construct. And each and every time we watch our partner’s feet we break that visual vertical couple’s silhouette.

b.) Position: The body position and placement of the couple creates an alignment issue that quite factually puts the Follower at a disadvantage that makes them feel as though they’re rushing to catch up.

c.) Vocabulary: At some point you’re going to want to do back sacadas, colgadas, volcadas, or any single axis turn just to name a few, and those movements require mastery over proprioception. 😉

d.) Navigational: While you’re watching your Partner’s feet, you’re not paying attention to what’s coming next, how much space you have to navigate, and the oncoming dancers.

MORE REMINDERS

Private Lessons (Part 1)

Private Lessons, or ‘Privates’ as they’re called sometimes, can really help you, can change you. Sometimes. And sometimes not. There are several reasons why private lessons won’t help or change you. 1.) Is the teacher you’ve chosen isn’t really a didactic teacher. What’s that ? It’s a teacher that is focused on dancing with you for an hour and pointing out all your flaws with very little actual correction instead of focusing on your foundation and fundamentals, like walking, stability, balance (which are not the same things by the way), your embrace, your body position and body placement, your understanding of the beat and engaging the musical pauses, just to name a few. A didactic teacher can really change you, and up your game. 2.) You. And the thinking that private lessons can the magical fix all. They’re not. You actually have to, god forbid, work! And then here’s the hard part: Practice!

Read More »

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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Architecture

Architecture. There are certain things we want to do with our bodies in relation to Argentine Tango and Social Dancing, one of them is to ‘close our fingers’ or bring our fingers together in every possible place where we lay our hands on our partners or they come into contact with our partner’s bodies.

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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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Perfectionism

There are those of us that separate being ‘good’ as being good enough, and anything beyond that is just ‘unnecessary’. It’s really about getting around the floor, and if no one complains about the embrace, or you don’t hit anything, or anyone, and you can throw in that cool move now and again, so much the better!

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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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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.

Read More »

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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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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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