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

Rejection

What follows relates to the verbal ask for a dance and the rejection, this thought does not talk about the reject from a failed cabeceo or mirada. Let’s lay out some facts before we get to the heart of this stuff. Fact: The ask, no matter how ‘sly’ you think you’re being, is going to be awkward.

Read More »

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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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 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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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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Wine & Tango

Stop and think about something for a moment: Wine is alcohol (duh). Alcohol is a depressant, not a stimulant, it lowers our inhibitions, and ability for rational thought. It allows for us to do things while under it’s effects (inebriation) that we wouldn’t normally do. Like for instance, ‘drunk dial the ex’, or taken to the extreme – driving while intoxicated (tsk, tsk, tsk). Typically the average ‘wine’ drinker never gets beyond the tipsy stage….they can ‘hold their liquor’ as it were.

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Alternative

There is another option as it’s referred to in the Tango world, Alternative Tango. Sometimes Alternative Tango is known by it’s other names “Neo” Tango or “Nuevo” Tango (which is a misnomer, as this was name that Astor Piazzolla gave to his musical genre that changed Tango music forever). Frequently “open embrace” is lumped in there as well due to the fact that a good portion of the vocabulary of Alternative Tango seemingly comes via an opening of the embrace.

Read More »

Saying ‘No’.

So without further variance, below is a 10 step process in “How to say ‘No’, and not dance with Y!” 🙂

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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