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Lead Exercises

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Lead Vocabulary Exercises

Most Leads come to the dance floor with the idea in their head of what they’re going to do from the moment they come into the Embrace. This is not always true, but a good portion of the Salon, Marathon, and Encuentro Leads will already have the first few bars of music mapped out. While their dance is not entirely mapped out (tsk, tsk, tsk), the first few measures are, and this is based on the Neurology of Leading that they’ve trained themselves to do over time with experience. And from there they choreograph a dance on the fly that fits the music within the available space (again the Neurology of Leading). To the casual observer, they’re dancing fluidly. Seemingly effortlessly putting one idea behind another.  However, in order to get to this stage of dancing seemingly takes a long time to do.

There is the traditional method of trial and error to achieve this way of dancing: Which is lots of endless classes/workshops on vocabulary that they’ll almost never use, to pieces of music that they’ll never hear again (thankfully), and then spending lots and lots and lots of time social dancing, and ‘practicing’ (ahem), and throwing in a few private lessons here and there for good measure, and hopefully coming out the other side a slightly improved competent social dancer, which speaks nothing to their embrace, interpretation the music, their ability to execute vocabulary, or attention to detail, or leaving their ego at the door. This is the norm of how things are done. This is ‘trial and error’ because the Lead tries things out and the results are pretty hit or miss most of the time for a variety of reasons that are nuanced to detail here (that’s another topic for another day). Also during this time period, the experience can be long, usually painful, ego-bruising process (if they’re lucky), that can take upwards of two to three years at minimum assuming travel, number of partners, distance to larger and multiple cities, level of diligence and attention to detail in multiple disciplines: Technique, Vocabulary, Musical Interpretation, Codigos, Marathon vs. Encuentro vs. Salon styles of dancing, and a host of other things with the end goal being not just a competent social dancer, but rather a competent social dancer that can freely and fluidly interpret the music with their partners, e.g. dancing fluidly. 

What if we could shave off (to reduce by) a few months, maybe a year, this process, possibly cut it back to about 6 months entirely ? What if there were a series of stepping stones that could quite rightfully change how a Lead responds to the music, changes how they interpret the music, that reduces their inhibitions, their hesitations, and removes all repetition from their vocabulary choices, and removes any and all excessive usages vocabulary ? That’s where Today’s Tango Topic comes in. 

There is another method that creates this series of stepping stones (no pun intended) to getting the Lead to a place where they can freely interpret the music, and freely choreograph their ideas that map their vocabulary onto the music so that it fits perfectly. These are Lead Exercises.

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Have you seen any of our entire Leading Technique Series ? It’s over 5 hrs (18 videos) of Lead Technique covering your Extensions, Feet, Posture, Embrace, Walk, Embellishments, Traveling Ochos, The Follower’s Molinete, The Argentine Cross and more…

See > Lead Technique

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What is a Lead Exercise ? This is a series of linked vocabulary choices that are practiced with some frequency on a weekly basis within the construct of 2 different embrace ideas, as well as with a metronome and NOT a piece of music. The reason ? A piece of music has lots and lots of nuances that can and do throw most people off, it confuses the hell out of them. So rather than work with a specific piece of music, we work with a time signature independent of the musical nuances, or in this case…the beat and ONLY the beat with pauses every 4 or 8 notes. So put simply a Lead Exercise is not about technique in this case, but rather a series of exercises designed specifically to retrain your Leading mind to respond to the changing conditions of the floor, the changing or challenges of Leading someone, what to do next, and most importantly to fix that tiny little problem of the hesitation described below. At the same time, this series of exercise also solves two latter problems of repetition and too much vocabulary by pairing things back to simple constructs to start with, instead of complex vocabulary sequences. Which is all designed to force you to work on the transitional elements rather than remembering steps, patterns, and figures that often fail and don’t necessarily help you all that much.

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.

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About The Video. This video comes in at 21m:40s in length in 9 Sections. Lead Technique is explained here in the video. No Follower technique is explored. 

Section 1 – Introduction – 00:03:04
Section 2 – Walking Into Lazy Ochos – 00:01:35
Section 3 – Walking Into Lazy Ocho – The Other Side – 00:02:05
Section 4 – Walking Into Traveling Ochos – 00:00:48
Section 5 – The ‘Dropped’ Traveling Ocho – 00:01:03
Section 6 – The Close Embrace Variations – 00:02:59
Section 7 – The ‘Practiced’ Weight Change – 00:00:38
Section 8 – The 3rd Cross System Entry – Lead Cross Behind – 00:04:05
Section 9 – The Frequencies/Closure – 00:04:42

Video pre-requisites: 1.) 6 Ways of Walking. 2.) Milonguero Ochos. 3.) Traveling Ochos. 4.) The 5 Pause Types! 

This video cannot be purchased, at this time, and can only be seen in its entirety with a Gold or Diamond Level Subscription

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.

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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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Leading Technique

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Leading Technique

Leading. Often the first thing we see when looking at Argentine Tango is the Tango Lead. It’s that sharp, clear, clean visual that strikes us almost immediately. We see the the visual of someone leading, and it’s this confusion, appreciation, amusement, bewilderment and just down right awe (in some cases) of a ‘wow’. Next the thing that we pay attention to is what they’re doing, not how they’re doing it, but what specifically they’re doing. You’re waiting, with anticipation, for that next cool, flashy move that screams – ‘Good Lead’. And the last thing that you start to become aware of is the musical expression, meaning how they’re placing the what they’re doing in time to the music, not necessarily how specifically it relates (that’s called interpreting the music by the way) to the music but really the execution in time to the music.

Truthfully depending on where we are in/at in the spectrum of leading (the activity), then this explanation of the dynamic of leading can be an eye opening experience on multiple levels for a variety of reasons (again, depending on where you are on the spectrum). At the same time, that experience is what usually shapes us, defines us, and ultimately it will inspire us to want to study toward being like that which we see…to emulate it. 🙂 Or it may turn us off entirely for a variety of reasons, perhaps because it looks too complex, too difficult, or it’s too much, or not ‘us’ at all. Again, this all depends on where you are on the spectrum of leading. If you’re just starting out then literally everything you see everyone else is doing is nothing short of magical. The further you go towards the ‘advanced’ dancer and closer towards the teacher class dancer (those who could teach but don’t) realm the less magical things are and the more technical things become, and the more you want to figure out why X, Y, and Z happens. That’s exactly where this topic comes into play. 

This topic assumes that you’ve gotten beyond the “Wow!!! That’s Amazing!!” phase and have just started to get down to the actual business of leading. And to be clear, this topic also assumes that you’ve gotten beyond the rudimentary foundation of walking, embrace, turning, crossing, and leading ochos, and are looking for a change towards something that looks a bit more elegant than the random, haphazard thing you have witnessed at your local milongas that’s loosely called ‘dancing‘.

Perhaps you’ve started to pay attention to how someone is doing X, Y, and Z, and found it to be lacking or amazing and wondered….’how do they do that ?’. Or more than likely you have caught a glimpse of yourself in the mirror as you turn a corner and are either impressed with what you see and want more, or generally you try to avert your eyes as you pass by a mirror or someone’s facebook picture of you. You generally try to avoid it because you know it’s just going to be awful to look at. The mere thought of you leading, or watching yourself lead, is an exercise in excruciating visual pain. You know where all the problems are at, you know what you have forgotten in the multiple private lessons that you’ve taken, you know that you should be practicing this stuff on a daily if not weekly basis but you don’t. You know all of this stuff…you’ve just forgotten it, and there it is in the mirror, staring back at you, unapologetic, and very truthful that you could do better than you are right now.  

If all of that is true, then this topic of Leading Technique is all for you. 

What is ‘Leading Technique’ ? First let’s get a few words out of the way. L/lead, L/led, L/leading, Lead/er. 1.) A ‘Lead’ (note the capitalization) is the person who is performing the action of initiating choices in the dance that we know as Argentine Tango. In this state, it is not a given that the person initiating choices is initiating those choices through Intention Based Dancing. More on this later. 2.) A ‘lead’ is the activity or action of the role of the Lead. In this state, this activity employs the usage of ‘Intention Based Dancing’ at every point along the course of an active dancing experience. 3.) The action of someone who is doing the activity of the role of the ‘Lead’ is someone who has ‘L/led’ or is ‘L/leading’. And last but not least, ‘Lead/er’, this is not what you think it is. It’s a person who quite decidedly uses their arms, forearms, biceps, fingers, and hands which employes layers or levels of pressure and/or compression (squeezing) their Followers to physiologically force, and/or indicate and then to direct their Followers to do X, Y, and Z. The Follower in this instance is told verbally (most often) to create ‘Resistance‘ so that the Lead/er can “feel” the Follower.  This is known as Resistance Based Dancing that reinforces La Marca as the way to indicate choices and then to respond to those choices. The reason for the capitalization trickery and chicanery is to create some clarity and specificity with the language that is used to describe these things.

For the purposes of this article we will be using L/lead, L/led, L/leading to talk about Leading Technique.

Leading Technique is about how a Lead walks, how they land their feet, how they engage their posture, and how they engage their embrace to a.) Invite. b.) Cajole. c.) Suggest. d.) Propose. And then finally e.) Initiate and Follow through to the execution of some piece of intended vocabulary. But all of that stuff has to first start with a clean and clear base. And that’s what this entire video series is about. It takes the foundation material that is generic for both roles, and then applies it for the role of the Lead and what has to happen to those physiological movements in order to “lead” with Leading Technique.

This is Leading Technique.

Is Leading Technique easy work? No! Although to listen to some people spouting their idea of what the Lead can and should do, you’d think you can master this stuff in an afternoon. Ummm in a word, “NOT!”. Is Leading Technique, as a whole, something you can learn in a 6-week cycle? Possibly, depending on the teacher. But really Leading Technique takes more than a few sessions to work out the bugs (as it were). First and foremost it’s about Body awareness. Your own, not the Followers. The ability to hear/feel your body in every detail and nuance. Being able to tell when something isn’t right or it is!  Secondly, it’s about balance and stability, again…your own. Not the Follower! And lastly Leading Technique is about hyper-awareness, using your nervous system, to accurately gauge where the Follower is in space and time in relation to the Lead.

The Reason Why. There is a very simple reason why we study the topic of Leading Technique. It’s because we want to look better in the role of the lead. It doesn’t get any more simple than that. The fact is that anyone, regardless of gender, can lead. However, to look elegant, and to do it effortlessly and with ease ? That’s technique!

The open secret is that leading technique is somewhat of an open book black art. Meaning ? That it does not take a Rocket Scientist to figure this stuff out and say, “I think I know what that is“. Quite honestly there’s no special magic to it, there’s no secret sauce, no hidden agenda, nothing like that. In it’s simplest form good leading technique is best defined in the execution of 3 simple things – forward, side, and back. In much the same way that Follower technique comprises these same things, lead technique does as well at it’s core. At the same time it also comprises the embrace components, posture, walking continuously – not just a single step, turning, crossing, ochos, and so on. Viewed from this perspective, leading technique takes on a whole different layer of madness that will drive you over the edge of sanity into the realm of minutiae and maddening subtlety. And that’s where having access to a good, clean, clear materials and resources is absolutely crucial towards you looking elegant and feeling elegant. The reality is that any idiot can ‘look‘ elegant, however feeling elegant to dance with ? That is a whole other layer of OMG! And that’s essentially what you’re after when you think of why you would want and need to study Leading Technique.

So the reason of ‘why’ boils down to – you are looking for a way to generate not just the visual representation of being a good lead that you associate with the “OMG” Leads (the person not the activity) in the room with but more important, the elegance of their lead, and the effortless by which they do those things that uniquely qualify them as a ‘Good Lead’.

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

First things First. When building a good Lead, you have to deconstruct a few basic things in that lead in order to change them from ‘yawn’ to ‘omg’. So what’s the first thing towards the transformation ? You would think that the thing to start with is the Lead’s walk. And you’d be wrong. No. The very first thing is their foundation of how they’re standing, their posture! Change their posture, and you change 70% of how they’ll move. Mind you, they’ll instantly revert back towards less than desirable ways of moving because they don’t know any better or different but that’s a horse of a different color. No, the very first thing you must deconstruct and then reconstruct in a Lead, is their posture and their relationship to the floor. How they hold themselves, and how they place their feet on the floor is absolutely crucial to changing them.

What’s next ? Again, you would think that this is about their walk. No. Again, it’s about the component elements of that walk, not the walk itself. And those component elements break down into two areas: The Extension and then Foot Placement! Meaning ? How they extend their legs, walking forwards (usually) and how they place their foot on the floor after that extension. Is this walking yet ? No. It’s redefining how to move while dancing. Re-writing the base code of movement and replacing it with something that, at the beginning, is going to seem insanely difficult, and later on will (with time and practice) become second nature. The walking part ? That comes later. Right now this is changing their posture, and their extensions.

Next is the foot placement and weight transfers. Probably the single most important thing you can do for a Lead is change how they place their foot on the floor and then resulting weight transfers that go with it. Truthfully this stuff is not sexy at all but boy does it ever define sexy when executed nicely. By itself, there’s not much to this, and you’d think that there’s really no point in how you place your foot on the floor but that foot placement is pretty much everything. Execute it right and the elegance that you seek is accessible. Execute it poorly and your ass is going to end up staring at a the ceiling and wondering WTF happened! Foot placement is everything! It’s not sexy but boy is it ever the core of the whole ball of wax!

What’s Next ? It’s at this point where we have to talk about Intention and Intention Based Dancing. The fact is that at this juncture a lead can easily go right off the rails, as it were, by thinking one thing and then doing another (read that as becoming a Resistance Based Dancer). All too easily. And it’s important to reinforce the ideals of Intention. Which are to suggest, invite, propose, engage, cajole, tease, intimate, and yes, intend to do something and then create space for the Follower execute what was intended. Failure to reinforce this stuff early on, and you’ll easily devolve into resistance, force, compression, rigidity and all sorts of undesirable ways of dancing. Which is basically what you’re doing right now, and no one is telling you that for fear of hurting your feelings, including your teachers!

The reality is that the effortlessness that one seeks can only be achieved through two means that are seemingly counter intuitive with each other. The first is through controlled, conscious, and contained kinesthetic and physiological movements. Precision based movement. And the second ? Honesty with oneself. All the technique in the world, no matter how much you execute it will not change you. You have to recognize that you need to improve and want to improve. And that starts with a frank, honest conversation with yourself. It’s the realization, and you’ll pardon the vulgarity of this statement – that you suck today, you’re going to suck tomorrow, and you will continue to to suck for a very long time going forward. And that as time goes forward, assuming the first is moving along at a nice pace, you’ll suck a little less than you did the day before, but not by much. At the same time you’ll need constant reminders to do X, Y, and Z. Because like it or not you are going to drift from what you saw once in a workshop, you’re going to veer from the path towards what is comfortable for you and what you can do versus what you need to do. You’ll misremember something, you’ll invent whole new ways or methodologies to excuse yourself from doing the work that needs to be done. And on top of that, you’ll abdicate your responsibility of doing X, Y, and Z, placing that in the Follower instead of yourself.

So effortlessness ? This is only one piece of the work on the road towards good, clean Leading Technique. Still another is being honest with oneself!

Achieving effortlessness ? Foundational exercises. Ballet rises (yes, even for a Lead) are a good place to start. Next are back cross twists, forward cross twists, enrosque twists, opposition and disassociation exercises, and finally arm/torso/head controlled movement exercises. Rewire that, replace it with contained, controlled movements and you’re onto something!

The Embrace. Once you have all of that checked off your list. You have to put things in their rightful context.  And that means working with the embrace. Because all of the above is absolutely pointless if your embrace is compressive and restrictive. So it’s at this juncture that we now employ the execution of intention based dancing within the confines of a skin-to-skin or fabric-to-skin or fabric-to-fabric haptic dancing. Better known as Tango Haptics, Meaning tactile compression information as it relates to Argentine Tango. Duh! 🙂

The reality is that a good portion of you reading this stuff have embrace issues that are quite literally standing in your way of being a desirable lead. Compression, Restriction, Force, Tension, Rigidity, Pressure, good lord, it’s a wonder that half of the Followers that you dance with don’t stop after the first 2 seconds and a.) slap you for squeezing the living daylights out of them. and/or b.) walk off the floor because you’re pushing and pulling and paddling them with your right hand and forearm. Seriously dude, if you had this happen to you, you’d probably drop the embrace with whatever idiot lead you’re dancing with and look him squarely in the eye and say “SERIOUSLY WITH THE SQUEEZING ?”. Not so much with that! That’s the reality. So if you wouldn’t want it done to you, why on earth are you doing it to your Followers ?

Now comes the hard part, a good portion of the Followers that you’re dancing with are not going to tell you any of this stuff because they have a.) A hard time speaking truth to power. b.) Don’t want to hurt your feelings because you’ll never dance with them again. and c.) They don’t have the language to describe to you X, Y, and Z and they don’t lead (a good portion of them don’t, but more and more are thankfully!).

Truthfully your embrace is absolutely key to containing all the work that you did above with your posture, extensions, foot placement, and intention. And an embrace that doesn’t need to restrict the movement of the Follower is an absolutely crucial step towards being a desirable Lead to dance with.

Talking About The Walk! Finally, we talk about walking, or more importantly how one executes all of the above within the construct of a walk and within the construct of the embrace and within the confines of simple movements like leading a traveling or milonguero ocho, or leading a molinete, or leading an argentine cross. Because each one of these movements require you to walk well, to walk cleanly, to walk with stability and equilibrium!

If we’ve done our job above, then the walk should become an extension of those ideals. It quite literally happens all by its lonesome. The walk is built above good posture, clean extensions, precise foot placement, and entry points to walking and everything else. Make those contiguous and constant and you’re on to something. The elegance that you seek is not in the walk itself but rather the stuff contained within that walk. The things already mentioned. 🙂

The Bridge To Better Dancing ? As leads, a good portion of what we’re going to be leading are Ochos (Traveling & Milonguero), Turns (Open Embrace, Close Embrace, or Milonguero), and Crosses (Argentine & Back), and the foundations of those leads are going to come from the things listed above – e.g. how the Lead moves in relation to what is intended or led. If that base  movement is clean, clear, controlled, and consistent, then the resulting leads for Ochos, Turns, and Crosses will be so crystal clear, you’ll wonder why you hadn’t done this work to begin with. And there’s a good reason why this work isn’t done at the start, because it’s minutiae, it’s much harder than the steps, patterns, and figures. This is precision kinesthetic control of your body to reflect a very specific visual representation of how you want to be seen doing something. Now we add the next component – how it feels! Each component by themselves is maddening, together if you don’t have the foundation for this stuff, if you don’t have a clear idea of what the end result is going to be will drive you right off the deep end!

The Leap of Faith. A good portion of the time when it comes to this stuff, you really do have to take a leap of faith that the person you’re getting this stuff from knows what they’re talking about (assuming that there’s any talking going on about leading technique to begin with), and can describe it in a way that works for you, while at the same time you can see the end results and are pleased with them. The caveat here is that a good portion of the time ‘technique’ is often masked inside the vocabulary and infrequently is it separated from the vocabulary. They go hand in hand, or so you would think. That’s not entirely true. You can take someone’s technique of how X, Y, and Z is done and marry it to the execution of different vocabulary with surprising results. But that’s a horse of a different color for another time. It’s only mentioned here as a factor in the separation of technique from vocabulary that it is possible to do.

this video can be purchased through the tango topics store 🙂

About The Video. This video is 9 separate videos for a total run time of 101 minutes! 

Video 1 – Overview & Exercise – 00:23:21
Video 2 – Opposition – 00:17:37
Video 3 – Lead Extensions – 00:04:08
Video 4 – Lead Foot Placement – 00:05:50
Video 5 – Lead Entry Paths – Part A – 00:03:00
Video 6 – Lead Entry Paths – Part B – 00:02:02
Video 7 – Lead Embraces Foundation – 00:14:54
Video 8 – Lead Embraces – Repositioning – 00:17:43
Video 9 – Enrosque Foundation – 00:12:20

this video can be purchased through the tango topics store 🙂

The Ultimate Arbiter. The last word on this subject is not your teacher, it’s not this website, nor is it you. There’s really only one arbiter of good taste in this case, and it’s the Follower. If the class of follower that you’re used to dancing with approves of what you’re doing, you’re on to something. Truthfully they are the final word on whether or not you’re doing good things or less than desirable things. That assumes that a.) You have the fortitude to ask (at a practica) about how you look and feel to them. b.) That their response is honest. (Frequently they’re not for the reasons already stated above) and c.) There’s some kind of meaningful feedback that you can pull from the most basic of frequent replies “That was nice”. Which is the extent of what you’ll get most of the time, unless you ask a series of leading questions of what in specific was ‘nice’ about it.

You know you’re on to something when other people that you don’t dance with acknowledge the change in you and start to compliment you on the difference in you.

The Last Word – Change. Change isn’t going to happen by itself. It requires a few thing. First, a willingness to make these kinds of changes. Secondly, a good, reliable source for this kind of information. And thirdly demonstratable, repeatable information that you can play with, over and over again.

Fortunately you have one, and that’s this website and resulting videos contained with in. This site exists for this sole purpose. And in specific this topic of Leading Technique has a video series that you can either download (purchase), or subscribe to see it and the 150+ videos on the topics of Foundation, Walking, Ochos, Turns, Crosses, Sacadas, Colgadas, Volcadas, Barridas, Paradas, and a host of other things. All here for you to watch, over and over again. And that all starts with hitting that little green button that says “SUBSCRIBE”.

 

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.

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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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Your Trip to BsAs

Your Trip to Buenos Aires

The fact is that for a lot of you, 2 weeks in Buenos Aires is all you can really manage. You’ll go, spend scads of money on airfare, apartment, shoes, clothes, privates with X and Y, and then spend every waking moment taking class after class after class in those 2 weeks. You’ll be filled with Tango morning, noon, and night. Milongas, classes, food, more milongas, more classes. Your every waking moment will be tango, tango, tango…which is the whole reason you’re there in the first place. You didn’t fly 10000+ miles to sit on your ass you know!

From a Leading perspective, yes you’re going to get your head handed to you from the moment you land, yes you’re going to be intimidated, and yes you’re going to have more than a few dances with people from all over the world that will challenge you, change you, and bless you…all at the same milonga in the same night. That’s day one. The rest is an uphill climb for a variety of reasons.

From a Following perspective, same as above. You’ll see footwork that will confound you and then you’ll want to take privates to be able to do just that. Go ahead, knock yourself out.

The Dancing Reality is:

a.) You’re not going to be able to retain 90% of what you’ve seen, heard, or practiced. Even if you video the end result. The “how” you got there will elude you. And it’s the ‘how‘ part that’s insanely important!

b.) Most of what you have seen, heard, or tried to practice, you’re going to screw up and misremember. You’ll think you’re doing one thing, when in fact you’re doing another! The kicker is that you won’t notice it.

c.) Most of what you will see, hear, and learn will screw with your head because a good portion of the information is specific to just BsAs. Meaning that it only applies to BsAs.

d.) Most of what you will experience from shows and classes is showy noise that does not and can not work in the line of dance. The trick is to focus on the social stuff that you can actually use in the line of dance. The real trick is being able to see the difference between Tango for Export and Social Tango!

d.) The trick to getting the most out of your trip to BsAs is working on your foundation (your walk, your stability, your underlying technique). This can create change in you. Steps, patterns, figures, or dancing like X, Y, or Z will not help you. Change comes from how the foundation is put together. 🙂

e.) The Argentines are a lovely people. They are. They’ve been through hell and back again. There is one immutable fact, no matter how ‘nice’ they are, they’re STILL not going to dance with you until you prove that you have a handle on this Tango thing…that means:

From a Leading perspective: Following the line of dance, not killing your partners with crazy, bullshit vocabulary (all 502 Sacadas known to man, or the 410 types of volcadas, etc all thrown into one song), and not bumping into anyone causing blood or limb loss. While at the same time looking elegant.  All the while, making it musical, fun, and engaging for your Follower partners and showing them off! This may prove to be challenging for you because the embrace will be filled with levels of compression, and the walk will be a near constant ‘impact’ that you’ll feel of the follower’s foot on the floor – not to mention the hanging, the pulling, and the pushing. If you’re looking for ‘stellar’, you’re lookin’ in the wrong place! Good luck!

From a Following perspective: Dancing with the locals is a bit easier. They’re actually wanting to dance with you, and not because you’re stellar either. It’s because you’re Norte Americano. The fact that you’re female and susceptible to their charms is…icing on the cake! Truth be told you’ve never had a man woo you like an Argentine man will. And the attention is unlike anything you’ve ever experienced (unless you’re Italian, or from NYC, and in which case you got this).

f.) The floors, at certain times of the years, are packed. Read that as Jan – Mar. That’s the ‘high‘ season. When every teacher in the known universe is in Buenos Fuckin’ Aires. The floors are packed with teacher/dancers…of a sufficient quality that will quite literally blow your mind. The rest of the year, if you’re looking for that experience…good luck with that. It’s like a ghost town by comparison. Keep that in mind when you’re booking your trip, and looking for the dancing reality that is Buenos Aires.

g.) Two fucking weeks is not fucking long enough. Quite honestly, you’re wasting your time and your money by spending two weeks there. It’s a waste of money to rush down there for 2 weeks. You ideally want to be there at least a month, and really 3 and that’s just the tip of the iceberg. Quite honestly those first 2 weeks is just getting the lay of the land. The rest of the time is figuring out how you’re going to extend your stay by another 2 to 3 months! Realistically, you’ll be afraid and isolated the first few days. You’ll wonder how on earth you got yourself into this mess. Going to the Milongas and classes and wonder ‘WTF!‘. In the end you’ll be so sad when you leave that you’ll have forgotten the depths of the horrors your were thinking just a few days earlier.

h.) Learn to pace yourself. All the running around you’re going to do is going to tire you out no matter how old or young you are. You can not do it all. Realistically it’s about finding good experiences, not about the quantity of those experiences. Quality is the order of the day. And learning how to pace yourself in the face of those quality experiences in the mass that is BsAs is quite essential.

i.) You’re going to find people that you groove with, and not groove with. You will dance really well with some people and not others. There’s a reason for this: You’re all at very different places in your tango development. The more experienced you are as a dancer will allow you to dance with nearly everyone and create a ‘nice’ experience, and know how to manage those dances to make them palatable for both parties. The less experienced dancer (the ones that hang, pull, push,can not navigate the floor musically. And then a few days later…you’ll ‘magically‘ be able to dance with X, Y, and Z for some reason. Again, simple reason, you’re getting in tune with the pace of Tango, and the idea of Tango that is BsAs. That getting in tune will leave you when you go back home.

j.) Tango is very different at home than what you’ll experience in Buenos Aires. Very different. And yet…it is the same thing. Which is to say that while it looks the same, the music is the same, the people are the same…the experience itself is vastly different for a reason:  Dancing in Buenos Aires is about a way of life. At home, you’re trying to imitate that way of life in a 4 or 5 hour time period through a Milonga. The Milonga is a way of life in Buenos Aires, better known as “Tango Es Vida”. Once you understand this thing, Tango then takes on a whole different way of being as does your ‘two weeks‘ in BsAs. ©Tango Topics.

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