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Golden Nugget Extensions

Golden Nugget Extensions

The Tango Walk is the hallmark of Argentine Tango. It is what sets Tango apart as a social dance, and a performance element. For some people when they talk about the Tango walk, they don’t pay a whole lot of attention to it, it’s just there. For some they hear the words that the walk is important but for one reason or another they just don’t get it. For others, they see that the walk is absolutely everything. It’s the bee’s knees. Anything and everything is possible once you have mastered the walk. Some people only see the walk as what one does in between the vocabulary (the steps, patterns, and figures). However you view the walk, the walk consists of four phases, not a singular element. The 1st of those 4 phases is what we call The Explosion Phase. This is where all the energy for the step is generated. It only happens for a moment. After that the energy dissipates in a controlled fashion throughout the rest of the step. The 2nd phase is The Extension Phase. This is where the leg actually, and fully extends, to a point. The 3rd phase is what we call The Perihelion Phase. In this phase we ‘pop’ the knee, meaning to fully elongate the entire knee area thereby creating a longer and cleaner extension of the leg. This phase is important because it is the mid-point of the step. And finally the 4th phase, The Transfer Phase. In this phase we do four things in sequence. 1.) We begin a sliding action along the floor with the free foot, shaping it, and engaging in supination. 2.) We begin to transfer our weight from one foot to the other, in this case the sliding foot. 3.) We allow the energy of the Explosion Phase to dissipate in a controlled way. And finally 4.) We allow the knee to flex back to the point of compression that we started out with.

Why are we talking about this stuff ? Because Today’s Tango Topic relies heavily on three of these 4 phases to begin playing with what we call Golden Nugget Extensions.

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Have you seen the Golden Nugget of Tango ? The Golden Nugget is one of the few patterns that’s great for learning the foundation, as well as actually using on the dance floor immediately! It’s not just for beginners, but advancing dancers too!

See > The Golden Nugget of Tango

a milonga madness subscription. need we say more ? 

What are Golden Nugget Extensions ? We need to back up a bit and explain The Golden Nugget of Tango (TGNoT). TGN is where Today’s Topic gets the basis of it’s name from. TGN is not just another piece of Tango Vocabulary. It makes the idea of Tango very accessible and removes a lot of doubt of what’s going to happen next. It is one of the very few patterns that Tango Topics actually endorses, and teaches, with some frequency. TGN can be very useful in interpreting the music, meaning that it works really well in all 3 styles of Tango Music (tango, vals, and milonga). It is also exceptionally extensible, meaning that you while you have the basic pattern of it, you can change it, modify it, and add to it, adorn it, edit it to fit what you’re doing from a Leading perspective as well as from a Following perspective. There are loads of places in TGN where the Follower has oooodles of control over what’s happening. But that’s a topic for another day to be filed under – The Role of the Active Follower.

And now we get to the other half of today’s explanation. The title (Golden Nugget Extensions) is a both a double-entendre as well as a deliberate explanation of what it is. First and foremost, it is taking TGN and adding an expansion pack to it. Things you probably hadn’t thought of when playing with TGN assuming that you have watched the video and learned something from it. Secondly, it’s also applying an element of Tango that doesn’t get a whole lot of usage except maybe in Milonga: The Incremental Step (Traspie) & The Check Step. Golden Nugget Extensions fuses these two important elements into one core concept that you want to apply to your dance. This is the Golden Nugget Extensions principle.

Difficulty Rating: 3 out of 5 stars (3 / 5)

There’s a lot more to this ArticleThere’s the extensive Lead’s Perspective, the deeper Follower’s Technique Perspective, and sometimes we throw in a complete Dancing Perspective part, all of which are only visible to Tango Topics Freemium Registered Users, Gold Subscribers, Diamond Level Users, and Milonga Madness Users. To become a Freemium user, Registration is absolutely 100% FREE, click the button below, and you get access to this article, and over 400 videos, hundreds of articles on a wide range of Tango Topics. So what are you waiting for, go register, then login to your Tango Topics Library page and then select the “ARTICLES” button and you’ll see this article with all that good stuff in there. Easy. No ? 🙂

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The Reality of WHY You Need This: There are many moves, steps, patterns, and figures to Argentine Tango that are really cool. What you may not realize is that most of that stuff is ‘fluff’, they’re nice to have, they’re nice to know, but honestly, you’re not going to use them that often! Mind you this is one side of the argument. This ain’t that! This piece is one of the more venerable selections of Argentine Tango that you will use frequently like Walking, Milonguero Ochos/Milonguero Turns, The Follower’s Molinete/Traveling Ochos, or The Argentine Cross. Tango Topics take this stuff very seriously, and we say that because we use this stuff ALL – THE – TIME! Our case is that you need this stuff because > This is all about foundation, or one of the Seven Foundation Steps that we use all the time to create the dance that we know as Argentine Tango. That’s why! 🙂 That said, you do actually need to watch this stuff. You can learn what you need from this video and then apply it. No lie. No gimmick. As always YMMV and to remember that the video itself is only a stepping stone! You will need some private lessons to go along with it to get the ‘feel’ of things. That is the reality of WHY you need this stuff. So subscribing for a few months to TangoTopics to get what we’re on about wouldn’t kill you. Further, it would probably help to hear another person saying what your current tango teacher has been saying all along. Think of this stuff as one more reminder that you absolutely need to hear.

bsas-prep-title

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About The Video. This video is 11m:27s in length in 7 sections. Both lead and follower technique are combined and integrated into the video.

Sacada Introduction – 00:03:26
Sacada Review – 00:02:37
Follower Technique – Part 1 – 00:01:15
Lead Technique – Part 1 – 00:00:50
Lead Technique – Part 2 – 00:01:05
Follower Technique – Part 2 – 00:00:55
Quick Examples – 00:01:20

Related Videos Mentioned In This Article: 

The Six Ways of WalkingDownload
Close Embrace SacadasArticle/Download

this video can be purchased through the tango topics store 🙂

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those 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!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

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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The Golden Nugget

The Golden Nugget of Tango

The Golden Nugget of Tango. Once long ago you were an itty-bitty Tango dancer. You could barely walk, the music was either intriguing or unappealing at best, one or the other. The very idea of going to a Milonga as a neophyte dancer where everyone and god could see just how much you were sucking raw eggs just about scared the bejeebers out of you. Then as you took a few classes, went to a few more milongas you started to feel like you knew what you were doing, sort of. You may have learned a few ‘steps’, gotten some feedback about what you’re supposed to do from a variety of people, you were possibly exposed to a Traveling Ocho, and the Follower’s Molinete (Leading and Following it), and most certainly the Argentine Cross. While at the same time, sort of seeing and hearing that there was an idea to the music but it was too vague for you to ‘get’ immediately other than there was a beat. You saw people dancing very close, and learned that this was called ‘Close Embrace’. You learned about the line of dance, about navigation and floorcraft (not the same things by the way), and something called ‘Cabeceo’…just to name a few. All along the way you made a few friends, people you enjoyed dancing with and enjoyed the learning process. And in the end you still feel like you had a lot to learn. This entire process of feeling like a ‘Social Dancer’ usually took anywhere from 6 months to a year at minimum, depending on the role you were dancing. And even less if you were role swapping right from the beginning!

What if there were another way ? What if you could have learned a way to Tango that encompassed all of that stuff, but quite literally took 1/10th the time! What if there were a particular pattern that you could use (as a Lead or a Follow) that would’ve allowed you to dance all the foundational vocabulary, that respected the line of dance, protected the follower, but wasn’t repetitive at all unless you wanted it to be! What if there was a pattern that was insanely musical, highly extensible, and easily modified, and easily learned! What if ? Sounds like sales hyperbole huh ? Thank god it’s not.

You would think that for the beginner dancer such a thing would be a god-send, for either role for a variety of obvious reasons! You would think that for the person that’s been dancing a while, the advancing dancer who has already gone through that trial above, for either role, that they’d clearly love such a thing because it addresses 2 of their primary concerns: 1.) what do I next ? and 2.) I hope I don’t screw up! 

Enter The Golden Nugget of Argentine Tango.

registration is different than subscribing. it’s free!

Have you seen the Golden Nugget Extensions video ? This video is double-entendre take on the Golden Nugget of Tango and Tango Incrementals. Incremental Ochos, Steps, & Crosses and more. Incrementals everywhere. Take a look and expand your dance and your horizons.

See > Golden Nugget Extensions

margaret didn’t get milonga. she found milonga madness. she gets it now. 😉 

What is The Golden Nugget of Tango ? This is a Tango Topics construct. It is a very irregular piece of Tango vocabulary that you won’t find anywhere else. It is one of the very few patterns or ‘steps’, if you want to call it that, that this site actively promotes as a very useful tool that you can take out social dancing today, not next week, not a month from now, but right now, today! However unlike 90% of tango patterns, this ‘step’ has far reaching implications. Put simply this is everything you will ever need to know in order to dance Argentine Tango in one complete package. This is not sales boast, or sales hyperbole. It’s demonstrable fact. The author is living proof of that fact!

The Golden Nugget (as it is affectionately called) contains the 7 basic ‘moves’ (seriously -> see the link) that you must master in order to dance. However, no one teaches it. And that’s because until recently it didn’t exist. Most Tango teachers will start you off with walking, and then possibly to Ochos, and then show you the dreaded ‘8 Count Basic’ which leads to an Argentine Cross, and/or show you the Ocho Cortado as a place to start pattern wise. And in doing so you, the unwitting student will end up repeating, and regurgitating the same move over and over and over again which makes them appear like a dance studio baby. 🙁

The Golden Nugget on the other hand replaces all of that stuff. Every. Last. Bit. Not that you don’t need to know walking, ochos, or crosses. No, you should study your walk. Not that you should not study your ochos and perfect them. You rightly should. Not that you shouldn’t rightfully practice the Follower’s Molinete. No. You should do all that stuff. That ‘stuff’ is insanely important and as every advanced dancer will tell you they’re constantly revisiting their foundation to clean up their issues.

The Golden Nugget solves the two problems above as well. It removes the uncertainty of what to do next because that decision is quite literally embedded into the solution itself. It also removes the problem of not wanting to screw up either and forces you work on and try to execute better or cleaner technique.

This is the The Golden Nugget of Tango in broad stroke.

Difficulty Rating: 3 out of 5 stars (3 / 5) The Super Ocho is going to kill!

There’s a lot more to this ArticleThere’s the extensive Lead’s Perspective, the deeper Follower’s Technique Perspective, and sometimes we throw in a complete Dancing Perspective part, all of which are only visible to Tango Topics Freemium Registered Users, Gold Subscribers, Diamond Level Users, and Milonga Madness Users. To become a Freemium user, Registration is absolutely 100% FREE, click the button below, and you get access to this article, and over 400 videos, hundreds of articles on a wide range of Tango Topics. So what are you waiting for, go register, then login to your Tango Topics Library page and then select the “ARTICLES” button and you’ll see this article with all that good stuff in there. Easy. No ? 🙂

FREEMIUM REGISTRATIONpractical tango advice, open articles, free videos

you can do better, all it takes is practice and time.

The Reality of WHY You Need This: There are many moves, steps, patterns, and figures to Argentine Tango that are really cool. What you may not realize is that most of that stuff is ‘fluff’, they’re nice to have, they’re nice to know, but honestly, you’re not going to use them that often! Mind you this is one side of the argument. This ain’t that! This piece is one of the more venerable selections of Argentine Tango that you will use frequently like Walking, Milonguero Ochos/Milonguero Turns, The Follower’s Molinete/Traveling Ochos, or The Argentine Cross. Tango Topics take this stuff very seriously, and we say that because we use this stuff ALL – THE – TIME! Our case is that you need this stuff because > This is all about foundation, or one of the Seven Foundation Steps that we use all the time to create the dance that we know as Argentine Tango. That’s why! 🙂 That said, you do actually need to watch this stuff. You can learn what you need from this video and then apply it. No lie. No gimmick. As always YMMV and to remember that the video itself is only a stepping stone! You will need some private lessons to go along with it to get the ‘feel’ of things. That is the reality of WHY you need this stuff. So subscribing for a few months to TangoTopics to get what we’re on about wouldn’t kill you. Further, it would probably help to hear another person saying what your current tango teacher has been saying all along. Think of this stuff as one more reminder that you absolutely need to hear.

bsas-prep-title

this video is available from the tangotopics store. 😉 

About The Video. This video comes in at 31m:16s in length in 12 Sections. Both lead and follower technique is combined and integrated in the video.

Section 1 – Lead – 00:02:42
Section 2 – Follow – 00:02:03
Section 3 – Lead/Follow Together – 00:01:50
Section 4 – Linking Step 1 – 00:02:03
Section 5 – Linking Step 2 – 00:03:40
Section 6 – The “Why” – 00:01:36
Section 7 – Set Up – 00:02:26 (the video above minus the golden nugget)
Section 8 – Close Embrace Version – 00:01:22
Section 9 – Embrace Clarities- 00:04:51
Section 10 – Versatility – 00:01:25
 Section 11 – Cross System – 00:04:38
Section 12 – Example – 00:02:50

this video is available from the tangotopics store. 😉 

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those 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!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

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. 


FREEMIUM REGISTRATION BELOW

register for the site at no cost & get more great, and detailed content from tango topics!

 

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The Four Parts of Social Milonga

Social Milonga

Milonga, and really ‘Social’ Milonga, is a difficult dance to Lead, but an easy one to Follow. Easy, if and only if, the Lead (person, not the action – ‘lead’) has a frakkin’ clue about what they’re doing. If they don’t, you, as the Follower are screwed and not in a good way either! Good Milonga is a step above modern Tango in that it requires both parties to be at their best technique wise. It requires both parties to understand an embrace that is non-compressive, non-restrictive, and have mastered a stable, clean, clear walking platform that does not ‘thud’. There is no need to ‘hang’, ‘pull’, or ‘push’ in any way, shape, or form. 

registration is free, costs nothing, and takes 2 minutes. 

Have you seen any of our Foundation Series ? It’s over an hr (8 videos) of Foundation Technique covering your Extensions, Feet, Posture, Embrace, and the beginnings of your Walk, and much more….

See > Foundations Bundle

milonga madness and a gold subscription together = 🙂

Let’s get a few terms and definitions out of the way before we go any further for the initiated and the uninitiated. The word ‘Milonga‘ has 3 definitions.

1.) It refers to the ‘dance’ party, and social experience that we aspire towards dancing at via classes and workshops and learning the codigos of the dance itself. The whole point of tango is to emulate the Milonga experience as a whole that we would find in Buenos Aires.

2.) It refers to a musical style of music that is typically written as 2/4 time, or at about 80 – 100 beats per minute. There are several versions of Milonga music, not the least of which is Tango-Milonga, Milonga Porteña, Milonga Criolla, and a few others. Candombe is not Milonga, but is frequently confused with Milonga. A poorly trained DJ will add one into a milonga tanda thinking that it’s Milonga music when in fact it’s not.

Further still, a common error is to add a Foxtrot or a Tango Foxtrot, thinking that it’s milonga when it’s not.

3.) Refers to the dance itself, which is a frequently, and mistakenly thought of as a subset of Tango movement, and this is an error. Milonga (not Milonga Porteña or Modern Milonga) begat Tango, and from that Tango as we think of it today grew.

learning tango is challenging. registering makes it easier. 😉

Have you seen the Six Ways of Walking Series ? This video series showcases the Six Ways of expanding your walk in Tango using: Parallel System Walking, Cross System Walking, Three Track Walking, ‘Lazy’ Ochos, The Snake Walks, & Alternate Walking.

Learn > The Six Ways Of Walking

mark found the habanera in gold madness. you can too! 🙂

What is ‘Social’ Milonga ? Social Milonga is a Milonga of ease, of least resistance, of effortlessness. It’s what we would dance at the Milonga when Milonga music is played but for a social environment not a performance! Which translates to smaller (very small) movements, and steps. This isn’t about turns, ganchos, volcadas, sacadas, colgadas, death drops, …. no, none of that. Simple, clean, small movement. Rather it’s about linear movements with one’s partner in either close or open embrace (yes Milonga can be done in open embrace), small linear movements that move down the line of dance. Social Milonga should not back up against the line of dance, but rather angle against the line of dance, think of 45º angles so that no one backs up directly into another couple. Social Milonga is small, compact, and doesn’t need to take up a whole lot of space…ever.  Horacio Godoy, who is a god of Milonga, is a good example of performance milonga, but it’s still a performance! What he’s doing is nothing short of magical, however…it should be noted that again, it’s a performance and not social dancing. He’s taking up oodles of space, and in the line of dance, you don’t have oodles of space! This is Social Milonga.  

Just as a side note: Social Milonga rightfully should never be attempted with a new partner that you’ve never danced with before.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

From a Following Perspective, you’re in for a rough ride, because a good portion of your leads don’t have a frakkin’ clue as to what they’re doing when it comes to Milonga. They will either race you around the floor and take a breather in odd places that have no relationship to anything that’s happening in the music, all the while squeezing the living daylights out of you, hoping you won’t notice that they’re not anywhere close to a beat that has any relation to anything that’s happening in the music. Or they’re so timid as to not wanting to step on your toes because they’ve recognized that this is insanely difficult that they back off completely. That’s the bulk of your experience. It’s rare, ever so rare that you have a lead that dances Milonga Lisa with you, and then expands that to Milonga con Traspie, and actually builds a milonga experience on the whole. These leads are rare, but oh such a wonder when you find one. It’s like Christmas morning, Easter day, and a box of chocolates all rolled into one! Fab! At the same time, let’s not kid ourselves…you as the Follower, have to be up for the challenge. Which is to say that your skills in Forward steps, Side Steps, and Back Steps must be absolutely spot on! Repeat after me: “I MOVE ME“. You must be responsible for your own movement. You must listen to what is being led (not waiting but listening) and then engage that movement immediately without fail. If you feel it, you go there, if you don’t feel it, you don’t go there. A good portion of the time, most followers fail these most basic things. And we end up with a less than desirable experience.

you know registration is free, takes 2 minutes, & you get cool stuff. 🙂

Have you seen any of our entire Follower Technique Series ? It’s over 2.37 hrs (24 videos) of Follower Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

Read & Watch > Follower Technique

fred feared milonga. he got milonga madness. he rocks now.

From a Leading Perspective, it means that you must have mastered all of the things listed above in addition to understanding and employing ‘Intention’. Why ? Because Milonga is all about the small, tiny movements, not about squeezing the living daylights out of your Followers with your embrace trying to make things small. It’s about leading small, tiny, incremental. It’s not about big, galloping steps…it can be, but isn’t. It’s about the tiny movements between the partners to the accents in the music.

However, the real key to milonga is the Weight Change. Being able to generate it in its myriad of forms without pushing, pulling, using force, and/or compression to accomplish this goal. If you can lead a weight change through opposition or a with-weight change instead of pushing or pulling, you’re onto a better class of leading as a whole.

Leading Milonga, or we should say, “modern” milonga, is a whole different class of leading. And doing it well, is a different kind of Lead (the person, not the action). How’s that ? This is choreographing on-the-fly, they’re making minor adjustments on-the-fly, they’re maintaining the line of dance on-the-fly…are you seeing the trend yet ? > on-the-fly! Is the key component. Mind you this happens in Tango and Vals as well, but there is a difference! The difference is the kinesthetics involved are a whole different class of minimal, minute movement, that is seemingly imperceptible except to the people dancing it, and to the trained eye.

In this version of Milonga the same thing that happens in the 5 Common Social Figures (which is a reduction of vocabulary choices) of Tango, happens in Milonga! Only instead of 5 Common Figures, it boils down to about 4 very specific choices.

1.) A variation of the Baldosa Box.
2.) A very simple and occasional Traspie, with a single Traspie, not multiples but not, and mostly not aligned with the habanera’s El Golpe! (and if you don’t know what that is…follow the link). You might…eeek, learn something.
3.) An occasional scissor step (not a pendulum step). and
4.) Every once in a blue-moon when there is a ‘race’ in the milonga beat and not the habanera, Patter In Milonga is used to accent the race of the beat.

Most of the better Milonga Leads have realized that a simplified Milonga is actually a better way to go than to race around the room which is what typically happens and why the better Followers will say “NO” to a particular Lead/er (follow the link for what that ‘/’ means) repeatedly. The better Milonga Lead will engage this simplified Milonga over and over and over again. It will look somewhat repetitive until you actually dance the Milonga with that Lead and for a time after the shock wears off that you’re dancing Milonga with that Lead it may even feel somewhat repetitive, until you start to listen to the music, and then the genius hits you like a ton of bricks. It’s simplified for a reason, to accent the music itself! Which is to say that you don’t need a vocabulary for good Milonga, what you need is an understanding of Music. And for that you first have to be able to hear the Habanera, and then, and only then can you start to play with the music. Once Habanera awareness occurs, and it will take some time for this to happen, it’s not something that happens overnight. More on this in a bit. Once Habanera awareness occurs, then the refinements of the dance of Milonga start to happen. Sometimes. Some Leads never, ever make this leap of logic > Less Is More. Most of them go in the opposite direction > MORE is BETTER! And this is a mistake. But they don’t and won’t ever realize it for a wide variety of reasons that are too numerous to mention here. Suffice it said, some folks never learn.

And unfortunately this space is too small to incorporate those ideas here. Fortunately for you Tango Topics does possess a Milonga track > Milonga Madness that discusses some, not all, of this stuff. For the rest that isn’t covered in Milonga Madness, we strongly recommend a long series of private lessons with the Author!

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From a Dancing Perspective, ‘Social‘ Milonga is insanely difficult to master. It requires all of the above to ‘work’, to ‘function’ with ease. Not an easy task at all. When done properly it’s simply divine. When done poorly…well we’ve all had that happen, and it’s just an absolute disaster. There’s no nice way to put that. More often than not we have all had far too many Milonga tandas that is nothing short of “GAWD PLEASE MAKE IT STOP!”. And a good portion of the time it’s because the embrace needs to be reset and is too restrictive, and/or the Lead (person), needs to actually listen to the beat and then walk (see ? walking, not running) the Follower on that beat…but doesn’t.

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The Musical Prerequisite

There is an absolute prerequisite to this milonga business – two things about Tango Music as whole that you, as a Lead, or a Follower must know:

a.) The Musical Pause in Tango Music as a whole! Without understanding this, you’re kinda screwed when it comes to dancing and really milonga as a whole. Oh and if you’re thinking that you can just ‘count’ beats and that will get you to your pauses…no. Fully 40% of Tango music does not contain an 8 count beat. Sometimes its a derivative of 4 yes…but sometimes it’s 4,8,12,16, or 24 beats before you hit an actual rest. So counting is about as useful as a small kitchen appliance unplugged. Why ? Because a good portion of the time, your count will be off for a variety of reasons. 1.) The transfer from shellac to digital (assuming it’s that direct and it almost never is) is probably flawed, scratchy, crackly, and slows down and speeds up. and 2.) Two words for you — TANGO MILONGA, which is to say that that the 2/4 time signature that you’re used to hearing in Milonga Porteña (or Modern Milonga), not so much with that! And that’s just the tip of the iceberg. Long story short, you want to actually learn to hear the 5 Major Types of Pauses in Tango Music.

b.) The Rhythm of Milonga which should not be confused with beat, melody, nor tempo, which is what a lot of you do. You do actually have to understand the Habanera Rhythm which is the basis of ALL Milongas. Not Candombe, Not Foxtrots…MILONGA! If you don’t know what the Habanera is, and/or think you have a handle on it, you really do want to go look at this definition of the Habanera on TangoTopics. This is the Rhythm that you absolutely must pay attention to because it quite literally forms the backbone of the music itself. If you can’t hear that, if you cannot find it in the music, then we have a problem, and it may require you to actually do a little study. Now to be fair, there are some milongas where the Habanera only appears sporadically, there are some milongas where the Habanera is a variation and you have to hear the variation, there are some milongas where the habanera is so distorted and so off of what you think it might be that it’s almost….ALMOST unrecognizable. However, that’s still no excuse for not practicing, and then working on finding the Habanera and then figuring out WTF to do with it.

That said…

Rather than show you charts and images which are about as helpful as a screen door on a submarine…let’s skip to a class summary by Oliver Koklier and Silvina Valz shot at the 2009 Portland Tango Festival. This is probably one of the best didactic Milonga videos you will need to see…ever. What Oliver & Silvina talk about in under 9 minutes will blow your mind. It’s a simple, clean, and clear, almost religious explanation of what Habanera and really the Milonga Rhythm is and is not, and what you can do with it. In 90 seconds they pretty much nail the Habanera. Quite honestly contained within this video is the basis of almost everything you need to know about a Milonga Rhythm. Once you understand the Rhythm of Milonga (and it is a rhythm, not a beat!) it is only then that we start to talk about what you actually do with it.

Ok, now that you’ve got your pound of free flesh that will only help you so far, now comes the real toy, which when this article was written originally hadn’t actually happened yet. Actually this article was written a year before what we’re about to talk about: Milonga Madness. This is going to sound like a sales pitch for Milonga Madness. It’s not. It’s the fact that we really have studied with a lot of people on this topic, spent years and more money than you can shake a stick at, at how to hear Milonga and then dance Milonga. This is one of the ONLY workshops that we’ve ever attended where we came away with a deeper understanding that Milonga does not need or want to be complex. It is a simple thing that does require you to actually hear the Habanera. Without that, then you’re just racing around the room. So here’s our advice. Go subscribe to Milonga Madness, you won’t be sorry! Truthfully, and we say this with how much we teach and talk about tango, it’s even better than all our own videos! Go SUBSCRIBE! Just scroll down to the bottom of the page, and click on the Milonga Madness Button! You’re welcome.

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4 Parts of Social Milonga

Part 1.) The Baldosa Box & one of several Baldosa Box Variations
Part 2.) Milonga Traspie and the many many variations
Part 3.) Scissor & Pendulum steps and variations.
Part 4.) Milonga Patter

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Tango Articulation

Tango Articulation

(Article Updated: 09/17) The moment you hear the word “Articulation” you’re going to say to yourself, “What the frak does that have to do with Argentine Tango ?”. And you’d be right to ask that question. That’s because this word isn’t necessarily related to Tango all that much, if ever. It’s a Tango Topics term. When we hear the word we’re more than likely to think of its literal iteration, “the formation of clear and distinct sounds in speech. The act of putting into words an idea or feeling of a specified type. The act or manner of uttering a speech sound, especially a consonant”. However, if you’re a music geek, the word has another meaning, “The clarity in the production of successive notes”. In either case, neither of those two definitions have anything to do with Articulation from a Tango Perspective.

What is Tango Articulation ? Articulation and Tango Articulation are the same things, just one is from a Tango perspective: Tango Articulation is a state where by the movement of one’s body parts, specifically the extremities of feet, legs, arms, and hands, create sharp and detailed lines that accentuate the form of the body in relationship to the pleasing and iconic shape of the couple in the embrace. The idea of ‘Articulation’ could mean, but is not limited to, pointing the toes, pointing the foot, generating a horizontal line with the arm around and across the back of your partner, raising of the head and pulling the head backwards towards the spinal column, the elbows, elongating the spinal column….all of these can be ‘Articulation’. Articulation is an accentuation of the form to detail the lines or shape of the dancers at all points along a movement, and in long form, the dance. To be aware of that movement and to create clean, clear, sharp lines of those shapes. So in essence the original English dictionary definition of this word isn’t that far off. Further one might start to think of this particular topic as ‘Posture’. Posture is only one place where Articulation can occur. It’s everywhere, toes, feet, legs, arms, hands, head but not necessarily the ‘trunk’ of the body. In the video above, Articulation is only viewed from the perspective of the feet and toes at first and then later legs. While it’s good focus on feet in this instance, that’s not the only place where Articulation can and should occur! 

For a lot of dancers Tango Articulation is a very foreign idea to a certain extent. And that’s because the moment the some people see it, and truly understand it for what it is, it’s very possible that those people will see it as ‘perfectionism’ and/or ‘performance’ Tango. Yes, it is ‘detailed’ work and for some people, it’s just too much work for them, and this topic is unimportant minutiae. The dance is about ‘fun’ for them, and this is not ‘fun’, it’s work. From their perspective, Articulation is too difficult, an effort to remember (true to a point), hard to practice (lie), not important (another lie), and hard to do (another lie). Yet, at the same time, Articulation is what sets the better dancer apart from the dancer that views this stuff as ‘work’. 

Difficulty Rating: 0.5 out of 5 stars (0.5 / 5)

From a Following perspective Articulation of one’s feet is what factually defines the elegance that is looked at in ochos, molinetes, crosses, adornments/embellishments. The more that a Follower Articulates, the more the Follower ‘sells the shoes’ as it were, and the move, and in a larger sense…the couple! And by ‘sell’, meaning that the visual presentation is seen as very desirable. Whether or not it’s ‘pleasurable’ is a different story all together.

To be clear, Articulation is not something you’re going to come to on your own. It requires that you have some awareness of what you’re doing and why and that means being exposed to a teacher who can and should point these things out to you…religiously! Just watching this video is NOT enough! You must be kept after, constantly. Why ? Because you’ll slip back to doing what’s comfortable for you.

This is NOT easy work. It’s not like you’ll spend 45 minutes in a class or workshop and then you’ve “got” it. NOT going to happen. This is blistering amounts of detailed work, every day for weeks, if not (depending on your age, and personal work ethic) months on end. You are going to suck at this stuff at first. And then later on, ‘poco a poco’. A little bit at a time…

Going a little deeper, once you start paying attention to this stuff, you’re going to start seeing this stuff EVERYWHERE! Everywhere in others at first, and then later on in you. And so that we’re clear about this, generally not in a good way either. You’ll notice that a good portion of the people that dance around you are generating a ‘sloppiness’ in their Articulations. While this may seem like pointing at other people’s flaws, it’s a good exercise for you so that you can see all the places where this stuff occurs, and it occurs a lot!

The humbling point: Once you think you’ve got a handle on Articulation in yourself, you’ll see that you don’t. How’s that ? This is about learned behavior, and about you unlearning what you have learned and replacing that with a more visually desirable end result. In many ways this is like editing your own words that you’ve written, words that you’ve fallen in love with…and you can’t bear to part with. However you have to in order to make the overall point of your words much better, cleaner, sharper, and on point!

From a Leading perspective it’s easy to dismiss this topic as solely a Follower issue, especially given the video above. That would be unwise. Articulation matters to you as well.

Articulation defines the presentation of the Follower’s movements.

Everywhere.

Why ? While the Lead is leading, they’re quite literally, if not actually, pointing at something the Follower is doing the entire time. For you, as the Lead, your whole thing is about presenting the Follower. The more that you present the Follower, the more people see the couple! The current line of thinking for most Leads is that ‘Presenting the Follower’ means adding oodles of vocabulary (sacadas, colgadas, volcadas, ganchos, boleos, etc) … and while these things have their place, usually these things are poorly executed (sloppy), and ill timed, and so we do not want to use them. Instead we want to add these things as accent, or ‘spice’ to the meal! And the meal is ? Less vocabulary and focusing on the 5 Basics of Social Tango. In short this means: 1.) Walking. 2.) Milonguero Ochos or Traveling Ochos. 3.) Milonguero Turns or Follower’s Molinete. 4.) Crosses & Cortados. and most importantly 5.) Dancing to the Pauses, and Accentuating the Musical Phrase!

The Lead has an incredible responsibility here, and that’s to Articulate wherever possible to accentuate the Follower’s execution, everywhere. However this is typically NOT what happens.

Putting this as simply as is possible: Articulation is not a role issue. It’s a dancer issue. So regardless of whether you dance one role predominantly or not, you still must articulate everywhere.

Watch It On Youtube ? Why should you subscribe to this website when stuff like this is available on Youtube ? Because what you’ll find on Youtube doesn’t explain and walk you through this stuff. So this is one reason why you want access to these video, and more importantly to have this stuff broken down for you from a leading and following perspective. 

So, please, go right ahead, go watch all the presentation videos on youtube all you want. Because that’s what they are ‘Presentation’ videos. The couple’s that you’re used to seeing are performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’. So please, go spend your time, trying to infer, and figure out how things may work in that 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.  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! (ahem) ME!  The goal of youtube videos is to entice you to go study with those teachers in person. The goal of these videos is allow you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and be done with it. 😉

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. 

In an hour long class, with the blind leading the blind through rotation of partners (uuuggggh!), you may glean a piece of the information you need and not get the whole thing, and you’ll miss important pieces that you’ll end up having to take a private lesson for to get the finer points. This way, you can watch over and over again, and get all the supplementary materials, and if you want you can still go take the class, only you’ll be better prepared to do so!

The Last Word. Tango Topics is little reminders and snippets of information that your teachers would have told you about but didn’t have time to or didn’t care to remind you for the umpteenth millionth time. Do you need videos like these ? Yes. Why ? Simple…you need as many reminders as possible in as many forms as you can get. In today’s Tango world it does take a village to raise a dancer. And that means having as many voices, reminders, ideas, concepts, perspectives as possible. This video and the rest of the ones that are sitting behind the Tango Topics paywall are that. While what you’re seeing above is only the smallest hint of what’s contained in the actual video. It should be enough for you to make a reasoned and intelligent choice that perhaps there’s something of value in this site and the videos that are here. Considering becoming a Gold, Gold Plus, or Diamond level subscriber today.

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THUD! – Tango Topics

THUD!

It doesn’t matter if you’re a Lead, or a Follower, we all at some point have to learn how to walk properly and for a good portion of us learning that proper walk is either an absolute joy, or such a pain in the ass to learn that you wonder why you’re dancing Tango in the first place! Why ? Because learning how to walk, if done properly, is a detailed analysis that seeks to break down the underpinnings of the mechanical aspects of your walk, the weight transitions that must occur, where and how to land on your feet and what parts of your foot you want to use….just to name a few. Walking isn’t just putting one foot in front of the other, as much as we’d like to believe. It’s not. Walking takes time, patience, and a lot of due diligence to move it into the area of ‘desirable’.

One aspect of learning to walk properly is learning what not to do. Unfortunately for a greater number of teachers, and dancers, the idea of giving and receiving feedback that is useful to them is relegated to “That’s nice” and/or “Try this instead” which doesn’t really encourage change. Instead of detailed questions, and constructed feedback that will ultimately lead to desirable dancing, on multiple levels, we end up with feedback that is pleasant and pleasing but not really helpful to change.

Believe it or not this is all relevant to Today’s Tango Topic of “THUD”. Believe it or not you have experienced the idea and practice of THUD so often that you’d think there was a course or class on the idea of THUD. At one point in time, you were even using THUD, and may still be using it and not realizing that you’re generating this. So without further yappage, Tango Topics Presents: THUD!

Notation: And so that we’re clear here, there is no ‘right’ walk, there is no ‘wrong’ walk. There is only a desirable walk, and an undesirable, with lots of shades in between. Going further down the rabbit hole, of the language here, it’s important to understand that this isn’t just simple word replacement. But thought change as well. We want to change our thinking about how these concepts are placed in our heads, “right” and “wrong” create barriers to our understanding and creating meaningful change. “Desirable” and “Undesirable” are not ‘right’ and ‘wrong’ cognates, but allow for a greater range of moving the dial!

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What is “THUD!” ? In the simplest way we know how to describe this stuff, “THUD” is an uncontrolled, unsightly, and ungainly foot heavy and overly weighted placement of the dancers foot, which results in a sound that resembles a rumbling of the floorboards under your feet when you jump up and down: THUD!  It occurs because the dancer in question has generated a heavy step, an impacted step, that they don’t realize that they’re doing it. That step reverberates up through the bones of the foot, then the ankle, then the knees, the legs to the hips, up along the spinal column, and then out through the arms in the embrace which is then transmitted to your partner! Usually ‘Thud!” occurs in concert with instability, hanging, pulling, pushing, and contortion. While one could easily paint this as a Follower only issue. That’s not the case. It occurs for both roles, regardless of age, height, weight, or any other issue you can think of. The reason it happens is primarily because no one has instructed that dancer on how to walk properly. Or in this case, how not to “THUD”. The general belief of THUD is that it can, and does, mostly occur when the leg is going backards or fowards (usually back) and the knee is bent, but the foot is lifted or raised off the floor! When the foot comes down (that’s the impact that you feel through the embrace), we have our ‘THUD!’.

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From a Following perspective, usually, a Lead will feel the impact of your foot hitting the floor, more than you will unless the Lead is clearly unaware of their own presence (that happens too by the way). Typically for you, even though it’s demonstrated from a side step above, your version of THUD occurs because of how you’re walking backwards. You quite literally pick your foot up off the floor at the very end of your what you think your extension is! The fact is that more than likely you have an issue with how you are understanding and then applying your walk. You ideally want your walk to resemble something very similar to this idea:

Aside from the opposition that’s being employed here, You’ll notice that this particular Follower sort of ‘slides’ their foot along the floor, that it never leaves the floor really ? That’s what you’re looking for. However this creates a problem, resistance against the floor! We want the leg to fully extend in response to the amount intention that our lead is generating, but there should be a slide, not a weight transfer until the we’re near the end of the step. And even then the weight transfer is gentle and gradual, not sudden and sharp, and occurs at perihelion in the extension phase of the step. When we extend our legs with bent knees we are more prone to a sudden and sharp transfer of our weight than we are a controlled one! And we want the controlled one! Tango Topics has a series of videos that show you exactly what you have to do in order to generate this, which can be found in the Foundation Bundle!

In the end, we want something like the above video to happen in concert with our partner. To be fair, this is not somethat will happen over night and watching a single video on this stuff and then you trying to replicate that is not going to change a damned thing. Furthermore as it relates to THUD, that will continue to happen. Sounds dire, right ? No. It’s a stark realization and only from that stark honesty can change occur. 🙂 There’s hope.

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See > Lead Technique

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From a Leading perspective, we feel the impact of the Follower’s foot on the floor, as a heavy step usually on their side and back steps. While at the same time we as L/leads must realize that we can and do generate a heavy impacted step as well. In short, there’s merit to the statement ‘walk softly’. The Lead can create the same problems that the Follower creates for exactly the same reasons above. Nothing has changed except the role. The walking technique is nearly the same, nearly, the only thing that’s changed is the direction that we’re moving in. However in our case, we want to generate Forward Intention first and foremost before we extend our legs, but that’s topic for another time. The end result of this is that when we generate THUD! it’s because we are more than likely driving forward with a lot of force, thereby driving the Follower into the floor! We’re stepping forward or side in a heavy-footed manner that belays what we want to do. There are some instances under which we actually do want to be heavy-footed, and that’s when we’re accenting an accent note, or dancing to Biagi’s music where you’ll hear a strong, sharp SHUM in the music on first beat of a measure. Which is what Biagi is known for, accenting the downbeat! That’s the “SHUM!”. There’s one other instance under which we want to engage in the practice of THUD!, and that’s when you have a Follower that a little unclear as to what’s going on. So for a few steps (A FEW, meaning 3 or 4) you may want to be slightly more heavy-footed than you would normally, but for the most part, walking in a heavy-footed maner is mostly undesirable and is a lot of work for the Follower to follow and maintain and to receive coming from you.

You may not realize this but that heavy-footed walk is felt coming up from the floor and up through your spinal column and out through the embrace! The Follower more than likely will not be able to tell you what they feel other than dancing with you tires them out. This is one reason why. Because you’re driving into them with heavy steps! THUD! Not so much with that.

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Have you seen the Six Ways of Walking Series ? This video series showcases the Six Ways of expanding your walk in Tango using: Parallel System Walking, Cross System Walking, Three Track Walking, ‘Lazy’ Ochos, The Snake Walks, & Alternate Walking.

Learn > The Six Ways Of Walking

mark found the habanera in gold madness. you can too! 🙂

From a Dancing Perspective, both roles do feel the THUD! when it happens, and once or twice it’s not so much of an issue. However, over time, after more than 10 or 15 steps it starts to drain their energy. The heavy-steps, the heavy-footed walking, and then dancing that way while being entirely unconscious in certain circumstances, and entirely conscious in others, is a lot of work for both roles. Ideally we want to walk lightly and with nimbleness, and then apply that to our dance. That would be ideal. Unfortunately that’s not what’s going to happen. And the reason is a really simple one: Comfort. You’re comfortable with what you’re doing. Further still you’re not even aware that you’re doing it, and beyond that most of the people you’re currently dancing with will tell you in no uncertain terms that you’re doing just fine. So how can you tell if you’re generating this stuff ?

Video yourself. Aim the camera so that you can see legs and feet only. Skip the embrace, it’s useless at this juncture. You need to diagnose what you’re doing and how! Look at the video above, and then the video below, and if you’re doing either of the following as a Follower, then it’s more than likely you’re generating instability. As a Lead these same things apply to you as well. The same constructs even though the steps are going backwards and it represents what’s happening with the Follower, they all so happen for the lead only in reverse!

That is how you know that you’re generating this stuff. Once you have identified that it’s going on, how do you fix it ? Fortunately Tango Topics has a solution, we have a Foundation package just for you. One of them is included in your free sign up! So go register today and get started in cleaning up your dance.

The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.

Have you seen the Milonga Madness series ? Over 2.5 hrs of pure Milonga Instruction GOLD with one of the best Social Milonga Teaching couples alive: Detlef Engel & Melina Sedó! It covers everything you need to know to get you up and running today with Milonga. Don’t delay, subscribe today!

Milonga Madness with Detlef Engel & Melina Sedo

explore your dance with a subscription! 😉

Why should you subscribe instead ?  Several reasons.  1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more! 

Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!

You could watch those 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!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

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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Sacada Foundations

Sacada Foundations

There is no doubt in anyone’s mind that the Tango Sacada is a very amazing piece of tango vocabulary. The first time I saw one, I did what most people do — “Wow!! That’s really cool!!!“. And then I went about trying to learn them. “Trying” being the operative word.

For most Leads, the Sacada represents graduation in a sense of “cool”, yes, but also that next level, the next chapter of their tango development. One accomplishment on a road to a series of accomplishments, this is the first of this class of accomplishments that says, “Cool”.

For most Followers, oddly enough, it’s the polar opposite of “Cool”. It’s “Did I get it right ?“. Their only concern is not the coolness factor but rather did they miss anything ? Did they ‘hear’ (feel) the lead properly ? Was their foot in the right place ? Their leg ? Are they hanging on their Lead ? Was their leg supposed to do that ? “Oops I’m sorry” an oft-repeated apology for doing what they were led to do (see Truism #893. Vol. 3). All hoping that it was right and that they didn’t hurt anyone, and in the end hoping that their Lead will still want to dance with them…in the beginning. Later on, as they improve, hoping that said Lead WON’T dance with them! But that is a topic for another time.

There are two immutable facts about every single Sacada known to man: 1.) The Sacada is an illusion! 2.) They’re in the the family of displacements. It’s the 2nd one that we’re interested in the most because this part usually fails in the Lead’s understanding and execution of exactly what it is that they’re trying to do. I failed at this constantly, in the beginning, failing to see this most intrinsic element that not one of my 98 teachers told me about. Not one.

When learning to Follow, I realized that the Sacada is, was nothing more than my body wanting to take the place of the Lead’s body. It just so happened that my leg would naturally want to go away from my lead because of their invasion – hence the displacement part. Proper Tango Technique taught me to do something else with that leg than just let it fly away, potentially hurting someone with my 3 inch heels!

Good thing you have access to a video that discusses all of these things in lurid detail in Sacada Foundations for both Lead and Follow, especially the proper Follower Technique part. In 7 minutes and 8 seconds you’ll learn everything you need to know about the foundation of every sacada known to man and beast. 🙂 All in HD quality with good clear sound and close-ups of every aspect of importance. Plus a free preview of Back Sacada technique for both Lead and Follow.

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