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Milonga Madness with Detlef Engel & Melina Sedó

Milonga & The Habanera Rhythm

When a Milonga tanda is played, more than half the dancers leave the floor for a smoke, the bathroom, the bar, to re-evaluate their lint collection or immediately start counting the ceiling tiles. The reasons why this phenomenon occurs are wide and varied but the subtext is clear: Milonga is clearly a challenge! It’s not that milonga isn’t fun. It is! It sure looks like it is. The music is very light and uplifting. Nor is it that Milonga is not entirely engaging. It clearly is that. It’s just that Milonga has become a complex dance by some estimates. There are a few primary reasons why the floor clears: a.) Some people feel a little foolish because they don’t understand the Music. b.) Milonga is so fast. c.) Don’t want to look foolish or screw up. d.) Some people would rather not dance with someone that doesn’t hear ‘the music’, and can’t build a dance from that. So they leave the floor.

Want to know a secret to Milonga ? Milonga is actually really easy. The dancing part is actually quite simple. For the most part, Milongas’ movements (its figures are a limited subset of tango, and really it’s done in on the linear, almost nothing curves in milonga). However, the thing you really want is 1.) To understand the Music. And 2.) Do something with that music. That’s where we talk about The Music and The Habanera Rhythm!

Usually, the idea of the Habanera Rhythm is taught in every Milonga class or workshop for one simple reason that you cannot dance Milonga without it! To be certain you can dance Milonga solely on its “1”, “2” beat, or you can dance to the melody of a Milonga tune, and a lot of people dance either of these ways. If, on the other hand, you want to enhance your Milonga skills, make your Milonga beautiful to look at, fun to do, inviting to others to so that they want to dance Milonga with you, then you really do want to learn how to incorporate the Habanera Rhythm and it’s Rhythmical Variations into your Milonga skills!

Enter Detlef Engel & Melina Sedó

If you’ve studied with Detlef Engel & Melina Sedó, or spent any time with them, danced with them, then we don’t have to explain how important a workshop with them is, and just why you should register below.

If not, then understand these two key points: 1.) They Make Milonga Accessible in a way that you can actually use the material almost immediately using what you already know about Argentine Tango with a few modifications here and there. A few ‘gotchas’ you absolutely have to be aware of in order to dance Milonga successfully. And 2.) There are no videos online, anywhere, of them demonstrating their work, or demonstrating how they teach, and in English! Let alone a complete Milonga Seminar! Yes, there are plenty of performance videos of them dancing to Tangos, Valses, and Milonga which you might be able to infer how they translate Milonga into what is referred to as ‘Social Milonga’, but that’s, to put it mildly, a stretch! But those are performance videos, not them breaking down how the Habanera works, what to listen for in Milonga, and then how to apply it going forward as a Lead or as a Follower!

On the other hand, you could purchase their book, Caminar Abrazados, which contains their Tango concepts and practices, in a extremely well written, and exceptionally well thought out 175-page tango exploration (and the included 2hr – 12 section DVD), where you’re presented with their teaching methodology. Which, as a side note, in our estimation is a clear, concise, and inherently detailed tool that you should order ASAP (very similar to TangoTopics in many ways). But unless you’re able to travel to them (spending several hours on an airplane, and then train, plus food and lodging, and not to mention several hundred dollars/euros in the process just to get to them), the only way you’re able to see this fabulous teaching couple is in your dreams. 🙁 Sadly. That is until now. 🙂

The reality is that they’re exceptionally knowledgeable and detailed teaching couple that have been refining the craft of explaining the materials laid out in this video for the last 18 years (at the time of this writing). This isn’t learning a few steps, patterns, or figures and you’re done. No. This is getting refined, clarified, clear, distilled information put in a useable form in its absolute essence to give you all the tools that you need from a video seminar on Milonga and the Habanera Rhythm, and The Rhythmical Variations of The Habanera Rhythm, and then….what you can do with all of that!

A Few Good Reasons

Why do you need this video series ? Because Detlef & Melina give you all the tools that you’ll need in order to enhance your Milonga skills, to make your dancing comfortable, consistent, and very conscious fun on every level! Musical, Kinesthetic, and Socially. Look, Milonga does not have to be complicated or complex. It can be a very simple and pleasant dance, and that’s what this video series emphasizes on multiple levels. Simple. Clean. Clear. Easy Milonga so that you can generate a very pleasant, and fun dancing experience with your partners. That’s why you need this video series. 

What are you going to get out of this video series ? A whole bunch of stuff. First and foremost is the Milonga Beat, the clear “1”, “2” of Milonga, just where that is and what it sounds like in various Milongas. Secondly, you’ll start to hear a Milonga beat that can be danced as a choice in either Half-Time and how to do that, Single-Time, and even in Double-Time and where and why that wants to happen! Third, they introduce a very important concept of “Counter Body” movement or what Tango Topics refers to as ‘Opposition‘ which is incredibly important in Milonga for a variety of reasons. Fourth, you’ll get an introduction to the Milonga “and” note that occurs (or “+” as it’s sometimes represented), and just why it’s so important that we dance it in Milonga and not discard it. And Last, but not least, probably the single most important thing about Milonga is what defines it as a musical genre in the first place: The Habanera Rhythm and what that is and what makes it so distinctive

Next Detlef and Melina take things to a whole other level with not only hearing The Habanera Rhythm, and walking through it and around it, but then adding in the 2 more common Rhythmical Variations of the Habanera Rhythm that you want to dance to and why. And then they add the icing on the cake: Milonga con Traspie, and you learn the when, where and how those rhythmical variations are applied with Milonga con Traspie! This video series completely demystifies the Milonga Beat, The Habanera Rhythm and it’s variations, and Traspie, and gives you the tools you need to enhance your dancing. 

Will you get any new and useful information on the Embrace, on the Walk, and how to hear the Music ? Yes to that entire question. You will have a greater, mmmm…wait, a deeper understanding of how you want to walk, how to engage opposition in your walk, how to step, how to land your foot, and why you want to walk in the way that they demonstrate. They break down close embrace, and show you a few pitfalls that happen in Milonga, and then put you on the straightened arrow so that you’ll want to make your embrace like what you see them doing. You get this from a Leading perspective as well as from a Following perspective. And lastly, of course, you will hear the music as they hear the music, and what you specifically need to listen for and then how to apply it.

That’s what you’re going to get. 😉 That and you will no longer want to clear the floor, or sit and count the ceiling tiles!

Access Options

Milonga Madness with Detlef Engel & Melina Sedó Access Options.

Option 1: Milonga Madness Option 2: Gold Level Access + Milonga Madness

What do you get with Option 1 ? The Full video of Milonga Madness for viewing on this website, your tablet, or your phone.

What do you get with Option 2 ? Gold Level Access on Tango Topics for 1 year + The full video of Milonga Madness for viewing on this website, your tablet, or your phone. 🙂

2018 USA Workshop Participants:

Detlef & Melina USA 2018 Participants: For participants of Boise, Philadelphia, or Newport News workshops in 2018 ONLY you will automatically get the discount above assuming that your organizer has submitted your name and email address to us, if they haven’t then you’ll have to contact your organizer have them submit your name to get the discount. In any case, your discount will be applied. Boston participants, your account is already set up for you, and you should receive a notification just go and log in!

Access to Milonga Madness with Detlef Engel & Melina Sedó

Get Milonga Madnessregister today

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Milonga-In-Single-Time

Milonga-In-Single-Time

Milonga-In-Single-Time. Milonga for a lot of people is a very challenging musical genre, and a challenging dance. Which is putting it mildly. Don’t believe that statement is true ? Just watch a Milonga tanda at your next Milonga. Watch how 80% of the floor clears. Mostly people fall into two categories: 1.) LOVE, LOVE, LOVE Milonga. or 2.) RUN, RUN, RUN from Milonga. And there is no middle ground. Those people that fall into the 1st category are usually Followers first who’ve danced more than a Milonga or two with a good Lead that understands HOW to fuse the music with linear compilations of the dance of Milonga. 😉 Those people that fall into the 2nd category are usually split into two subcategories. a.) Leads that have a distinct fear of Milonga because they’ve realized that the music is faster than they think they can dance, and/or they don’t know what to do to it or with it, and then leading that stuff at that ‘speed’. They just freak right the frak out! b.) The Follower who has learned the hard way that they’d rather sit than dance a Milonga with someone who races them around the floor jerking them this way and that. Today’s Tango Topic deals with the second category of dancer and applies to the first category of Follower only in the minimal. That said, let’s dive right into Milonga-In-Single-Time.

Let’s get something out of the way, Milonga-In-Single-Time is not a step or a pattern, this is not going to change what you do to Milonga, well not immediately but it can and will change how you can access Milonga on multiple of multiple of levels.

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 Milonga-In-Single-Time ? This is a construct to help you access Milonga which is more for the Lead and less for the Follower. It’s a tool that can change how the 2nd category of dancer hears Milonga so that they can actually dance it and not freak out to it. In short, it’s a way to slow down Milonga in real time without actually doing anything crazy really. In it’s simplest form it is dropping a beat really.

A little clarity: Milonga from a timing perspective is 2/4 time. Meaning that there are 2 beats per measure. By contrast Tango music is typically 4/4 time, meaning that there are 4 beats per measure.


We typically step on the 1st and 3rd beat of a Tango, and the 1st beat of Milonga. The first note in both cases is the strong beat of the music. The 3rd note is a weaker ‘strong’ beat. While the contrasting 2 and 4 are softer weaker notes. There’s a reason why we’re talking about this stuff of notation and timing and beats and which note we typically step on, and that’s because it’s important that you understand what normally happens. 

Try tapping/clapping out the beat here, just a hint, you’re going to want to tap/clap on the 1 and the 3, that’s what your normal walking beat would be. Now here comes the fun part, believe it or not, this is actually Milonga-In-Single-Time even though it’s a Tango. 😉 And that’s the key to this tool right there.

Milonga-In-Single-Time would take a normal Milonga which is 1-2, 1-2, 1-2, and instead turn it into 1-2-3-4, where the 3,4 is the next 1,2 in the sequence! Now we add one more thing, remember we’re only stepping on the 1, not the 3 in this case. So a Milonga like the one used in the video is Francisco Canaro’s ‘Milonga Sentimental’ (see below) would go from 1-2, 1-2, 1-2, to 1-2-3-4 where the 1 is what we walk on, thereby effectively ‘slowing down’ the Milonga! As a result the typical ‘rush’ or freak out that happens for that second class of dancer above never happens because there’s ‘time’, lots and lots and lots of time. 🙂

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

Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂

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.

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 video 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 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. 

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.

bsas-prep-title

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.

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.

sharon prepared for buenos aires by subscribing. be like sharon. 🙂 

subscribe. practice. watch. improve. practice. dance. smile.:-)

From a Leading Perspective, it means that you must have mastered all of the things listed above in addition to understanding and employing ‘intention’ because Milonga is all about the small, the tiny movements. 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, or using force or compression. 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.

Have you seen the Milonga Madness video 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 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.

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.

To understand the Rhythm of Milonga, 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 didactic explanation of what Milonga Rhythm is and is not. 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.

thoughts about tango ?

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

This is a Free View of Today’s Tango Topic: It’s Free, you don’t need to register, but to see the rest of what Tango Topics offers you do need to register and then consider becoming a subscriber. Registration is Free, Subscribing will cost you a few pennies. 🙂 This free view is an example of the kinds of information and the detailed information that you will find if you subscribe. This view is one of hundreds of videos and articles on the nature of Argentine Tango and really Social Dancing as a whole. 

Why Should You Subscribe ? You can easily find this stuff on YouTube, right ? There’s plenty of presentation videos out there that can show you what you need to know. There’s just one little tiny problem. This stuff isn’t on YouTube! You can only find this content, and content like it, here on Tango Topics. 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 subscriber today.

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