Practice with Tango Sticks

At some point along your tango curve, you have wanted 1.) to practice a step, a pattern, or a figure. Or 2.) you have seen something that you want to try out. Or 3.) you’re imagining an idea of how something might work and want to try it. In all three of these instances, you will need a practice partner. You’ll need to schedule their time against yours. And once you’re in the same room with them, balance their issues of how they do X vs. how you engage X. And once that challenge is overcome then it’s getting into the idea of what it is you had in mind to begin with. All told, this could be several hours or days between the idea and the actual doing of it.

Sometimes that’s not enough, you need something immediately. You need to play with this stuff now. So as a result some folks will go to the next available practica, and/or class, or their local private lesson and try this stuff out, sometimes with very mixed results.

Some people go the route of actually getting that private practice time, and then videoing themselves immediately. The immediate part is insanely important. They don’t want to talk about it. They just want to see it work without talking about it. They want to see what happens and then play that response back several times without necessarily talking about it or discussing it. This is known as ‘playing with the blank response’. Blank response ? If you lead/follow something the right way, there should be a specific response, but if it’s not done the right way, they’ll respond with their training or technique. And that response is golden actually. It provides useful information in how we lead and follow something and why something happens. That’s a blank response. At the same time, later on, we want to figure out the what the possibilities are. What MAY happen. And some people video this too. They want the unvarnished responses, the one where you haven’t processed it, and practiced it. But rather just to see if both parties get hear the same things.

These processes are really great when there’s an available partner.

But what happens in the case of not having an available partner ?

That’s where we talk about Tango Sticks.

For years, when a Lead has wanted to try something out, or a Follower who has been paying attention in what they’re being led to, and there is no available partner (with no onboard ‘issues’) available one used a pair of broomsticks to substitute the dancing partner so that they could ‘practice’ these issues or map something out.

Some people have even gone the route of performing with the sticks and showing what you can do with them. And some folks use this process as teaching tool, and exercise tool for mapping things out.

There are some major minuses to this work and there are some major pluses.

The minus is that a thinking, breathing, human being will respond with their foibles, issues, and technique. The pluses to this ? A thinking, breathing, human being will respond with their foibles, issues, and technique. It’s a lose-lose, or win-win situation depending on your point of view.

Mapping something out is never a bad idea. It reinforces your own thinking about how something MIGHT be accomplished. It may not answer the question entirely until you have a live person in front of you, but it does allow you to work out all the gross details of a particular idea. So here’s a good idea, get yourself a pair of cheap broomsticks and start playing! And just in case you want an updated broom, Tango Topics suggests the venerable ‘Walking Stick‘, which does the same job, it’s generally made out of aluminum instead of wood.

MORE REMINDERS

The Shoe Lip

Today’s Tango Thought is a bit of Tango minutiae that seems unimportant at first, but is in reality very important actually. It is an awareness that can help you to understand why certain kinesthetic instabilities (regardless of gender) exist: A fair number of street shoes, male or female, have a thick hard leather construct known as the ‘Sole of the Shoe’. The Sole serves several purposes, one of which is to protect your feet from harm, still another (which relates to today’s thought) and secondly it’s what we call the ‘Shoe Lip’.

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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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New York

Our little summary of dancing in New York City for the World Traveler that will be landing in NY soon and looking for some place to dance.

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Waiting vs. Listening

What is Waiting Vs. Listening ? In it’s simplest form this comparison deals with the axiom of Followers are told to "Wait for your L/lead", and instead implies that there is another idea sitting there that almost never gets talked about and in today’s Tango world almost never gets used, which is "Listening".

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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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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 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.

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The Unseen

There is an unspoken, unwritten rule with regards to Argentine Tango. Actually there are a few of them. However, one of them is that once you are acknowledged you are now persona grata. However, if you are NOT acknowledged….then you are Persona Non-Grata. You don’t exist. They don’t see you. And the more that you stand in front of them, the less that they’ll see you. You are the ‘Unseen’.

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Tango Cities

Today’s Tango Thought covers a labor of Tantalus … where is Tango danced and in what cities ? What follows is by no means an exhaustive list of places where tango is danced, it only scratches the surface.

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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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