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Lazy Follower Foot

Lazy Follower Foot

Lazy Follower Foot. Most people don’t think about this stuff except for when they’re in a class or a Follower Technique Seminar, or in a private lesson. Mostly they hear it and completely forget about it about 10 seconds after it’s been said. That is unless some diligent teacher continually reminds you of this stuff, constantly. To be fair, while this particular topic happens a lot for Followers, this happens everywhere across the entire spectrum of the dance and into real life. If someone says something to you that needs to be corrected, it will take you a few tries to remember to do it, and even then that’s a stretch. The fact is that you’re dealing with muscle memory or in this case ‘muscle comfort’. It’s comfortable for you to do this stuff. So why change it. The reality is that the change comes hard to some people, and comfort is easy. If you’re comfortable why bother changing ? Right ? What you may not realize is that that comfort may or may not be desirable to look at, as in this case of Lazy Follower Foot.

What is ‘Lazy Follower Foot’ ? It is a state where the Follower’s back foot as it comes into collection from a Forward step, is either dragged without care or unconsciously. The foot itself, seemingly hangs off the ankle, and is summarily dragged into collection from the Forward step. This doesn’t happen from the Back or Side step, that’s the ‘Dangling’ Foot error. Whole different ball of wax, but the solution is exactly the same as shown in today’s video! 

Difficulty Rating:  (0.5 / 5)

From a Following Perspective, if you think for a moment that you’re not doing this stuff, then either you’re blind, or consciously sticking your head in the sand, or you’re a teacher who has mastered their technique and have moved onto the solution to this problem and how to make the solution better than is shown above.

Let’s get something out of the way. The fact is that even we teachers have to constantly work on our own technique. Constantly. Just because we teach does not mean that we do not strive to make clean, make better, to improve our understanding of what we do and why. Nothing is accepted, everything is questioned, overturned, turned inside out, upside down, and right side up. Everything is examined. It must be examined. And if we’re doing that for ourselves, the question is, why aren’t you ? This isn’t about teaching really, it’s about striving to clean up these detail areas that for one reason or another, while you may not be able to fully identify it, something (or in most cases a lot of somethings) look ‘off’. And the attention to detail is absolutely necessary to addressing these issues.

To be fair some people have a hard time talking about this stuff, or even viewing it. They don’t want to, or in most cases, can’t engage in the idea of this discussion at all. They only view this stuff through the lens of performance or perfectionism, or “that’s for a teacher, that’s not real life”. Ahem. Not. It is real life, and you DO want to pay attention to the details here. This isn’t about perfection. Get that thought right out of your head. This stuff has very real world consequences, and the sooner that you realize this fact, the easier your Tango life will be. Because, as has been said in many other parts of your life, the details matter! Why wouldn’t they matter in Tango as well!

The reality is that when you’re talking about this stuff, and then you start to pull stuff apart that ‘seemingly’ worked (operative word in the sentence), you quickly realize just how many things do not actually function as you thought they did. And it’s right about that point where you are instantly overwhelmed by the sheer volume of what’s not working, and why, and most people throw up their hands and say “to hell with it all, why bother !?!?!?”.

Why Bother With This Stuff ? Here’s why.

There will come a night, a milonga, where the usual crowd of your usual dancers is increased by a +1. A Lead that is completely unknown to you. Said Lead has popped into your town, just passing through from somewhere on their way to somewhere else. They know no one. They find a seat, put on their shoes, and they scan the room for a few moments, and begin their process of Cabeceo.  You see them dance, and to you, they look amazing. Fabulous. They’re not like every other Lead in the room, and you find yourself wanting. Waiting for their Cabeceo when they step off the floor. They’re scanning and scanning and they pick their next partner, and the next, and the next….an hour or so goes by, and you find yourself brimming with anticipation. They scan in your direction, and they lock eyes with you. Your chance has arrived. They walk around the room to engage their Salida. And off you go. From the moment their embrace starts, you know you are in the presence of ‘better’. The embrace is light but engaged. The posture is spot on but not stiff. The stance….. and then you move. Slowly at first. And then from muscle memory. Their embrace remains … light. No matter what. They’re not rushing you. However, something is … ummm … not … quite … the glee is waring off. The newness of this dancer is replaced by questioning. They looked so perfect dancing with everyone else…but you seem to be missing things. Little things at first, and then here and there, things you can’t quite get your … “what the frak was THAT ?”….and you find your feet, and recover nicely….or so you think, and … then it happens again, and again, and again….somewhere in the back of your mind you’re wondering if anyone is watching this mess ? It’s fun to be certain but you’re certain that it’s a mess. In between the songs, this Lead is pleasant and nice, good small talk, and discussing where they’re going next. The next song starts, and the odd part is that this Lead’s embrace isn’t constrictive, or restrictive, or ‘pushy’ in any way, there’s no resistance at all. In fact, it’s what you imagine that Tango Topics talks about all the time and here it is embodied. And yet, you find that dancing with this Lead isn’t…ummm ‘nice’. It’s downright challenging. You’re missing things. Your feet are getting all tangled up, and you feel like you’re dragging your feet. They’re not saying anything, but you feel a sense of ‘Jesus H. Christ! I missed that…and that…and that….and f*ck!…”.  The tanda ends, and they walk you back to your table. They smile. You smile. And away they go. On the one hand, the dance was ‘fun’. It was certainly musical. No one that you’ve ever danced with has been that musical, and playful, and just fun to dance with. There were actual tango jokes, giggles really. But on the other hand it was way beyond you. So many things missed. So many things.

The Error In Your Thinking. The reason why this dance was challenging for you, and this is the error, is that’s just their ‘style’ of dance, and it’s not your style. Yes there is an estillo to some people’s dance, but sometimes with the more advanced dancers this isn’t about style…it’s about technique and the execution of that technique! So, put simply you’re missing the other side of the equation: You’re not ready for them! And the reason is, because your understanding of your own technique, your underlying foundation, how you move, how you land your feet, how you extend your legs, how you embrace your partners, where you place your body in relationship to your L/lead, where and how you engage X piece of vocabulary…all of that stuff is not trained in you. It’s just not. Further, because you’re dancing with a certain class of L/lead mostly you only get to experience a very small sliver of what a fully trained and operational Lead can actually do. Further still the Neurology of Following (as opposed to the Neurology of Leading) is lacking in you. So as a result you ‘miss’ things. So a Lead like that above, is mostly lost on you. Yes it’s insanely fun, and challenging, but you ‘missed’ so much and what’s worse is you know it. It wasn’t embarrassing, thank god, but you know in your heart you missed so much of what was ‘said’. You missed the nuances. The subtlety.

Diving Deep.

There is a reason this stuff happens, actually four possibilities: 1.) Poor execution of technique. 2.) Poorly understood technique.  3.) No Practice. or 4.) All of the above!

While it’s not rocket science what those things mean, they do require a bit of detail.

1.) Poor Execution. This means that your attention to detail of your technique is sloppy. Meaning that you allow your foot to unconsciously move as it sees fit to move in relation to your ankle and leg. Even though you have been shown X, it’s not showing up in your dance. Either consciously or unconsciously.

2.) Poorly Understood. This happens quite frequently. We hear ‘X’ when a teacher says something to us, and in reality they meant ‘Y’.  But because we hear it through the filter of our understanding we end up misunderstanding more often than not. Poorly understood means that you hear or see something and presume that ‘A’ is ‘A’ instead of diving deeply to dig down to the roots of what ‘A’ actually is. To see it’s inner workings. Not just to accept it, but figure out for yourself how and why something functions.

3.) No Practice. This should be a no-brainer. But you’d be surprised just how many people will go to a teacher or a class and magically expect them to fix everything, and that now that they’ve visited with teacher ‘C’ that things are all better and they can go back to what they were doing in the first place. Because teacher ‘C’ said they’re “you’re doing fine but…” and “that’s fabulous, and…”, or … did you see it ? Probably not. You missed the ‘but’/‘and’ at the ends of those sentences. You only heard the praise and not the rest! Which was… “You should go home and practice the frak out of this stuff that I just spent the better portion of the last hour showing you! Not to mention you just handed me a boatload of cash to tell you this stuff, so you had damned well better go home and practice this stuff!!”.

4.) All of the Above! This needs no explanation. It’s not one or the other, but actually All of them together.

dancing in a small space ? watch these videos!

bsas-prep-title

From a Leading Perspective. You didn’t think you were going to be immune to this did you ? Wrong thinking. Got news for you. All of that stuff above where the Follower’s experience is questioning what just happened, can and will happen to you as well. So if you think this is solely a Follower issue, THINK AGAIN!

The Wrap Up. The fact is that this is just one little, tiny, aspect of examining what’s going on in your dance. It happens quite frequently, and you do need to pay attention to it to fix it, to change it, to make it better!

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 the how a Circular Ocho Cortado can function, but not all the toys that are described above. So this is one reason why you want this video series, 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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Ochos – Transitions – Lazy to Molinete

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Milonguero Ochos into the Follower’s Molinete

Milonguero Ochos into the Follower's Molinete

Lazy Ochos into The Follower’s Molinete. This is an odd transition to be certain. It mixes two very different types of tango styles or ideas into one way of dancing. Typically the ‘Lazy’ or Milonguero Style Ocho is done in Milonguero style of dancing, that means that the Lead is not leading the Follower’s hips to rotate at all, ever. And then, all of a sudden, and it is all of a sudden, we ask (note the language here…’ask’) the Follower to engage their Molinete. Not a Milonguero Turn, but a Close Embrace Molinete. Talk about confusing! Oy. So let’s get into L/leading and Following Milonguero Ochos into the Follower’s Molinete!

Check Please! The video above is small snippet of a full HD video (total run time: 22:40). You can purchase Ocho Transitions – Milonguero Ochos into the Follower’s Molinete for just 24.99 or the entire series of 3 (59.99) on sale until May 1st, 2017.

FREEMIUM ACCESSget access for free, just register Subscribe for $1.99enter code: “TANGO7-199” 20% OFF DIAMONDenter code: “DIAMOND-20” Get GOLD+VIDEO Membershipget video feedback of your dance!

From a Following perspective, the thing that’s going to throw you is the sharp transition between these two ideas. First you’re doing one thing where you’re not transitioning your hips and then the next you are. Crazy! The only precedent for this stuff is the inconsistent lead that gets half way through leading something and then changes their mind abruptly taking you along with them for the ride, and that abruptness is usually unpleasant. Only in this case, it’s not unpleasant, when led properly. It’s just a little jarring. Ok, more than a little jarring. Especially if you’re used to dancing ‘milonguero’ style, and then you’re being asked to do a close embrace molinete.

To be clear, a good portion of your leads, say 90% of them are going to enable your defaults, and not be aware that there even other options here. And really, up until this moment in time, you didn’t realize that there was a different kind of ocho (there are 8 in fact). You’re just used to the one kind, traveling ochos, the ones where you’re supposed to ‘swivel’ your hips. That ‘swivel’ isn’t a swivel, it’s applied disassociation. But that’s a topic that has been discussed ad nauseum, I only mention it here to illuminate that there are other forces at work that you want to consider. I digress. Most of your leads will be unaware, as you are, that there are other options. Further, the ones that do know that there are other options tend to squeeze the living daylights out of the Follower and thereby not allow the applied disassociation in the Molinete. The want the Molinete but they don’t want to allow you the movement of your body that they’re asking for. It’s nearly impossible. Oy.

The thing that you absolutely need to be aware of is that these are LAZY ochos first and foremost. Why ? Because the Lead that actually knows what they’re doing will end up having to drop beats to accommodate your default behavior of TRAVELING ochos (applied disassociation), and thereby possibly have to make changes to their line of dance, what will come next, and end up having to modify the dance as a whole because you’re responding with the wrong damned ocho! Listen carefully for the difference in the lead. Truthfully, again, only 10% of your leads will lead these but they’re absolutely delish when they’re led.

From a Leading Perspective, you need to be crystal clear in what you’re leading. Absolutely crystal clear. Rotate your chest even 2 degrees to the left or to the right and you’ll get TRAVELING ochos out of the Follower. For the LAZY ocho you must remain still! At the same time, you must allow the Follower space to move within the construct of the embrace. That said, the biggest issue here is the 3rd LAZY ocho prior to the Follower’s Molinete. This is all about allowing the Follower the space to move, and then you actually leading the over-rotation. Failure to do this, and the Follower ends up in your arm pit, and then they fee like they’re rushing around behind you never able to catch up. Part of the issue here is that you must ‘mark’ and match their rotation with yours. Remember that you’re the inside of the circle, and the Follower is the outside of the circle. For you, every degree that you turn, it’s 10 for them! Just a lot more work for them, especially on the over-rotated backstep!

Truthfully as was stated above, this transition isn’t mixed and matched all that often because you’re so used to leading (and really the Follower just responding with) TRAVELING ochos, that you don’t even think about it. However, the major problem with TRAVELING ochos is that you end up having to either drop a beat or having to rush the ochos to match the beat. It’s harder work for the Follower to do this. Their ochos have to become very tight, and very small, almost milonga style ochos…almost.

The question may come up, “why employ/use this transition at all ?”. The reason is really simple. It’s the fact that Lazy Ochos are all about hitting the beat, every beat, and they’re great for that. That’s it right there. Traveling ochos, you end up having to drop beats. So instead of every beat, it’s every other beat. Which can be kinda fun for a while…but gets kind of old later on, and typically doesn’t go with the music. Typically.

see parts 1 & 2 of the series

see part 1 of the series

 

see part 2 of the series

From a Dancing Perspective, quite honestly you’re going to go and do what you’ve been doing forever, which is traveling ochos into the Follower’s Molinete, and just think that this is easier. It’s not easier, it’s just what you’re used to doing. This idea, and this construct requires clarity and an amped up listening and execution skills and quite honestly it a lot more fun for a variety of reasons. Most notably among those reasons is the fact that not the fact that it’s unusual, or that you’re hitting every beat whenever you want to, nooooo! The fun part ? The precision. Believe it or not the precision part is what will give you an enormous amount of satisfaction to be able to execute X,Y, and Z on demand. And being able to hit either Traveling OR in this case, LAZY ochos as you see fit (from a leading or following perspective). That’s the fun part. Precision.

About The Video. This video is 12:37 in length in 1 section.

It can be purchased for $24.99 or downloaded as part of your subscription with a discount.

The Missing Information.  There’s a free tip (for registered free users) that you can not see because you’re not logged in. 🙁 If you were logged in, you’d see the updated free tip, but because you’re not, you’re not seeing it. So ? If you want the free tip, then go register as a free user and login. 🙂 However, if you want the toys, and to see the 12:37 HD quality video on how to properly lead and follow a Ocho Transitions – Lazy Ochos to a Milonguero Turn and all the toys that go with it. Then you have 2 options. 1.) You can buy it. or 2.) You can subscribe!

 Watch It On Youtube ? Why should you pay for this video, or 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 the how a Ocho Transition works! That’s why! 

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.

Ochos – Transitions – Traveling to Molinete

Ochos - Transitions - Traveling to Molinete

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Thank you for reading, and I look forward to seeing you in class!

Ochos – Transitions – Lazy to Milonguero

Ochos - Transitions - Lazy to Milonguero Turns  

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Thank you for reading, and I look forward to seeing you in class!

Ochos – Milonguero Ochos

Walking - 'Lazy' or Milonguero Ochos - + Admin JavaScript warning: I'm sorry, your JavaScript appears to be broken. Please use "Check template" in plugin settings, read our troubleshooting guide, troubleshooting guide for programmers or order our pro support and we will get it fixed for you.

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