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Golden Nugget Extensions

Golden Nugget Extensions

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

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

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

The Golden Nugget of Tango

a milonga madness subscription. need we say more

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

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

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

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.

this video can be purchased through the tango topics store 🙂

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

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

Related Videos Mentioned In This Article: 

The Six Ways of WalkingDownload
Close Embrace SacadasArticle/Download

this video can be purchased through the tango topics store 🙂

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

Have you seen the Milonga Madness 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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Crossing Sacada Turn

If you were logged in, you’d see the premium version of this tango topic! Just sayin’… 🙂

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Have you seen any of our Sacada Videos ? If you have a want to learn how to Lead and to Follow the Argentine Sacada, then this is the video series for you. Close Embrace Sacadas ? No problem. Simple Sacadas ? Yup. Back Sacadas ? You betcha! And a lot more.

See > All The Sacadas and The Ulimate Sacada Bundle

the traveling ocho eluded him. he subscribed. he’s better now.

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 Case For WHY You Need This ? Actually, you don’t need it. Huh ? Hmmm…that’s no way to sell videos or subscriptions. You’re right. It’s not. That’s because we’re not in the business of teaching you useless vocabulary that you probably don’t need. Stay with us on this one, it’s not going where you think it is. From a very specific point of view, this is cool vocab. No doubt about it. However, from another point of view, the one of the social dancer who’s been dancing a while, a long while, this is nothing more than vocabulary that doesn’t further the cause of Social Dancing. Now here’s the kicker – Both, yes, BOTH points of view are valid. Here’s why:

From the Social Dancer’s point of view, you’re never going to use this stuff. Maybe once in a blue moon, but in reality the better that you get, the less you use this stuff. From their point of view, it’s four pieces of vocabulary that you need: The 6 Ways of Walking, Traveling Ochos/Milonguero Ochos, The Follower’s Molinete/The Milonguero Turn, and lastly – The Argentine Cross. That’s it. That’s all you need. From the Dancer’s point of view that’s hasn’t mastered this stuff yet, this is cool and you want to play with it, and to be able to master it. To find it’s in’s, out’s, how’s, and why’s, and mostly to have fun with it. Both points have their merits.

And now to the one twist in our point that you probably weren’t expecting. This stuff actually has validity, maybe not from a social dancing perspective, immediately, but more from a movement, and musical perspective. The fact is that this is all about one thing and one thing only: Skillz!

There’s a reason you study vocabulary like this, and it’s not because it’s cool (it can be), or that’s it’s musical (it is), or that it’s fun (it is that), or that it adds a little spice and variety now again (the once in a blue moon methodology). It’s because it’s all about your Foundation. Or put another way, because this vocabulary works your foundation in a really good way, by breaking down the movements to their component elements, so then you can become a much more fluid dancer so that you can use it, or not. It’s about availability, accessibility. Not about using it. Using it is entirely up you. But working the instrument, that’s what this vocabulary does. It works your instrument, … ahem…that’s you in case you weren’t paying attention.

No one wants to admit that they need help. That their dance isn’t stellar. Furthermore, you really don’t know that your dancing skills aren’t absolutely amazing until you see a room full of people all dancing way better than you are. And then you see it and feel like the poor cousin at the kiddie table during a holiday meal. There’s a reason those people have achieved ‘better’. It’s doing work like what you see in the video above. Being able to turn this stuff on and off as if it were a switch. A good portion of the time when we’re dancing we only think about the ‘cool’ toys in our dancing and we neglect the one thing that makes those cool toys possible: Our Foundation. That is, in case you’re not paying attention, this video series and others like it.


bsas-prep-title

The Crossing Sacada Turn

The Crossing Sacada Turn. Tango vocabulary consists of many, many different ideas that are sometimes beautiful and sometimes not. Sometimes the simplest things are really the most elegant things to watch and to experience. And sometimes, very infrequently so, when you put two ideas together something else happens that is almost magical in it’s execution, dynamic in it’s experience, and seemingly otherworldly just watching it happen within the context of the music and the dance. Today’s Tango Topic explores this idea known as “The Crossing Sacada Turn”.

this video can be purchased through the tango topics store 🙂

About The Video. This video comes in at 34m:02s in length in 13 Sections. This video contains no Follower and/or and very little Lead Technique.

Section 1 – Introduction – 00:00:52
Section 2 – Argentine Cross – The Starting Point – 00:01:32
Section 3 – The Lead’s Cross Behind – 00:02:35
Section 4 – The First Sacada – 00:01:09
Section 5 – The Follower’s Flailing Foot Error – 00:02:17
Section 6 – The Second Sacada – 00:01:32
Section 7 – The Third Sacada – 00:03:10
Section 8 – The First Complete Sacada Turn – 00:01:32
Section 9 – The Turning Brake – 00:04:08 (technique)
Section 10 – Removing The 3rd Sacada – 00:00:58
Section 11 – A Variation On A Theme – 00:03:47
Section 12 – The Close Embrace Version – 00:01:34

Section 13 – With A Metronome/Closure – 00:02:34

Related Videos Mentioned In This Article: 

The Six Ways of WalkingDownload
Simple Sacadas – Download

Close Embrace Sacadas – Article/Download
The Argentine Cross – Article/Download
The Follower’s MolineteDownload
The Self Gancho Exercise/The Self Gancho for Both Roles – Download

this video can be purchased through the tango topics store 🙂

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

Have you seen the Milonga Madness 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. 

REGISTRATION COSTS YOU NOTHING

register and get more great, and detailed content from tango topics!

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Cross Body Incrementals

If you were logged in, you’d see the premium version of this tango topic! Just sayin’… 🙂

Cross Body Incrementals

Let’s get something out of the way immediately, ok…a few things: This particular Tango Topic is a Tango Topics phrase. Meaning that you’re not going to find it in any tango class with any other teacher. Secondly this topic refers to a class of vocabulary that isn’t particularly sexy to talk about, “talk” being the operative word. Thirdly after watching the video above, you’re going to ask yourself, “what’s the point ?”. And you’d be right to ask that question. It’s actually, almost quite boring to watch. Watching it is one thing, doing it on the other hand, is radically different, and it sooooo vicseral in it’s application that you’ll want to spend all of your time doing nothing but just because of the way it feels when it’s done properly.  And that right there is the key component. Doing it properly.

To be clear a Cross Body Incremental is not necessarily the topic that makes you go, “WOW!!! OMG!! I want THAT!!!”. It’s just not. And yet, this particular topic is quite literally every. single. thing. about tango that you find to be fun, intimate, and absolutely delicious at the same time. It’s that good. So yeah, on the outside looking in, not so much. On the inside,  doing it….OH MY F*CKING GOD!!!! So without further adieu, today’s Tango Topic – Cross Body Incrementals.

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Have you seen Dancing In A Small Space ? If you’re planning to dance at a Tango Marathon, Festival, Encuentro, Buenos Aires, or your local Milonga is a very crowded and you want to know how to dance well in a small crowded space, then this video is the key to that process.

Dancing In A Small Space

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What is a Cross Body Incremental ? In its simplest form a Cross Body Incremental is motion that is generated from Opposition, which results in the Follower’s leg extension across the meridian line of the couple, usually to the opposite side. The distinction between Cross Body Incrementals and a ‘step’, is that there’s typically no weight transfer at all in Cross Body Incrementals. Where it gets its name from is the fact this is all about, say it with me, ‘incremental’ motion. Meaning you don’t have to do this all at once but rather in tiny little bits, which typically match the beat, or an 8th or 16th note in the music (this is NOT shown in the video). So what’s the Cross Body part if it’s just incremental motion ? Isn’t that kinda like Traspie ? No, for two reasons. In Traspie, which is typically employed in Milonga…typically, there is a slight weight transfer. In this instance, there is no weight transfer. Secondly, in Traspie, the motion is usually (very often) linear. Meaning ? That the Lead will invoke the Follower to extend their leg backwards or forward, or side in linear fashion. In this instance, the Follower is being asked to extend and oppose across the Lead’s body, and across the couples meridian line in close embrace. So in essence while it may appear to be a Traspie. It is anything but!

Difficulty Rating: 2.5 out of 5 stars (2.5 / 5)

this video can be purchased through the tango topics store 🙂

About The Video. This video comes in at 36m:38s in length in 9 Sections. Separate Lead Technique and detailed Follower Technique is explained here in the video.

Section 1 – Introduction – 00:04:26
Section 2 – Lead Technique – 00:04:36
Section 3 – The Weight Change – 00:02:41
Section 4 – Embrace Clarity – 00:00:53
Section 5 – Cross Body Close Up – 00:02:34
Section 6 – Follower Technique – Opposition – 00:05:09
Section 7 – Follower Technique – Legs – 00:03:05
Section 8 – Follower Technique – Feet – 00:04:15
Section 9 – Dancing Ideas/ End – 00:08:20

Related Videos 

6 Ways of WalkingDownload
Check Steps & Incremental Steps – Article/Download

 

this video can be purchased through the tango topics store 🙂

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

Have you seen the Milonga Madness 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. 

REGISTRATION COSTS YOU NOTHING

register and get more great, and detailed content from tango topics!

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Walking Turns

If you subscribed, you would see the premium version of this article here and the full video.

Walking Turns

The Walking Turn. Right from the start the 2nd or 3rd thing a Lead must learn is how to turn the Follower. Usually, most Leads are taught the sexier turn, learning to lead the Follower’s Molinete to their Lead Giro. It’s a harder turn to learn for a variety of reasons, not the least of which is that the Lead must master disassociation first and foremost, and secondarily not to use their arms or hands to push or pull the Follower. That along with the timing of certain aspects of the guidance of the Follower’s Molinete can make it rather challenging. So you would think, given all that, that teachers would eschew teaching the Lead how to generate the Follower’s Molinete in favor of a much simpler turn. Nope. Most teachers go right for the Molinete/Giro combo and skip right past the simplest turn of all: The Walking Turn!

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Have you seen all our Argentine Turns ? We showcase 8 types of turns: 1.) The Follower’s Molinete. 2.) The Milonguero Turn. 3.) The Rock Step. 4.) The Ocho Cortado. 5.) The Walking Turn. 6.) The Calesita. 7.) The Colgada Turn. 8.) The Media Luna.

Learn > The Eight Argentine Turns

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What is a ‘Walking Turn’ ? It’s a turn where the couple walks in a very tight circle within the line of dance. Obviously this type of turn has issues, in that 2 of it’s steps will go AGAINST the line of dance. However, this can be alleviated by ‘cutting’ the corner of the first turning step, thereby curving the turning step towards being even tighter.

There are many benefits to this type of turn even though it isn’t taught that often if at all. One benefit is that the turn allows for the continuation of walking with your partner. Still another benefit is that it also allows one to engage any one of the five of the six ways of walking! Usually this turn is done in Close Embrace, and in Parallel Walking System. However, that doesn’t mean that it has to stay that way. 🙂 It can be a very nice exploration, musically speaking, of Close Embrace walking on 3 tracks or Milonguero Ochos or a host of other things.

The primary reason we use this turn is to add to our repertoire of available turns. We could use the Follower’s Molinete or the Milonguero Turn, or it’s kissin’ cousin, the Calecita. Which, as a side note, is a great addition to the Walking Turn itself. You can go from Calecita to Walking Turn in a continual cycle back and forth. Just a thought. 😉

The Problem: There’s a reason why this turn isn’t taught all that often. Actually 3 reasons. 1.) It is all too easy for The Walking Turn to become a navigational hazard, when executed by a beginner Lead, thereby breaking the line and lane of dance. 2.) it’s not sexy by comparison to the follower’s molinete, but rather it is very functional. And for some reason we like sexy and eschew functional. 🙂 The problem is that the turn itself while being very easy to learn, can be difficult to execute.  3.) After about 2 or 3 steps, depending on the size of your steps, will invariably have you and your partner facing against the line of dance. And this is a major no-no!  And if this something your teacher has not told you about, then fire that teacher immediately. Because this is one of those things that you should have drilled into your head! Which is a really good reason the turn is almost never taught to beginner leads, because they’ll end up screwing up the turn, freaking out when something doesn’t go right, and thereby screwing up the line of dance which in turn creates a navigational nightmare!

However, with a little judicious study, and some hard work, the turn can be taught, and executed with a great deal of control and precision, and eventually can become a useful staple of every Lead’s arsenal of turning tools in today’s modern version of Argentine Tango.

Difficulty Rating: 2 out of 5 stars (2 / 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.

this video can be purchased through the tango topics store 🙂

About The Video. This video comes in at 1hr:8m in length in 19 Sections. Both lead and follower technique is combined and integrated in the video.

Section 1 – Introduction – 00:01:00
Section 2 – Set Up: 5 Embraces – 00:01:20
Section 3 – Basic Floorcraft – 00:02:00
Section 4 – Tango Hapitcs – 00:01:02
Section 5 – Without The Lead Back Step – 00:00:37
Section 6 – Set Up – Relationship = Alignment – 00:01:23
Section 7 – Starting The Turn – 00:02:00
Section 8 – The Walking Turn – 00:00:58
Section 9 – The Walking Turn with the 5 Embraces – 00:07:47
Section 10 – Follower Technique – 00:06:11
Section 11 – Lead Technique – 00:01:37
Section 12 – The Relationship – 00:03:21
Section 13 – Footwork: Close-ups – 00:04:59
Section 14 – Why Walking Systems – 00:00:58
Section 15 – Walking Turns with 6 Walking Systems Explained – 00:06:49
Section 16 – Walking Turns with 6 Walking Systems Applied – 00:11:38
Section 17 – Walking Turns – Errors – 00:05:44
Section 18 – Embrace Reminders – 00:04:46
Section 19 – Closure – 00:02:07

this video can be purchased through the tango topics store 🙂

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

Have you seen the Milonga Madness 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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Argentine Rock Steps

If you were logged in, you’d see the premium version of this Tango Topic! Just sayin’… 🙂

Argentine Rock Steps

The Argentine Rock Step is a very venerable piece of tango vocabulary it’s used quite often as a way to avoid a hazard, and infrequently as a what is primarily supposed to be used for as musical interpretation. More often than naught for a lot of people the addition of the Rock Step is where they stop developing kinesthetically. This becomes their experience, their go to move, and they don’t realize that this is the case.  So let’s talk about Today’s Tango Topic: The Argentine Rock Step.

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

Learn > The Six Ways Of Walking

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

What is A Rock Step ? First let’s define what the word ‘Rock’ means. According to Webster’s Dictionary, the English word ‘Rock’ in this case is being used as a verb. It has a noun form, which means “a mass of stone”. In its verb form, it means “to sway back and forth”. Next, when we apply that idea to Dancing, a Rock Step means that you have a step that is going to go from weight transfer to weight transfer, very quickly.

An Argentine Rock Step is a little different. It refers to a very specific construct and is not swaying to from side to side, but actually weight transfer to weight transfer (usually back and forth) sometimes with a Resolution (more on that later). In a lot of ways, a ‘Rock’ Step appears to look like (operative word) as if the couple dancing is a Rocking Chair. The Argentine Rock Step is in the family of ‘Alterations’ of Tango Vocabulary. Meaning that due to a possible Resolution, the Follower’s direction (orientation) changes as a result. One more thing: There is a distinct and clear difference between an Argentine Rock Step and a Check Step and/or Incremental Step as shown in the video below:

The video above shows the difference between the two (and one possible error that happens quite frequently). A Check Step has no weight transfer forward (for the lead) and backwards (for the follower). In the case of the Rock Step there is a clear, and definitive weight transfer backwards AND THEN forwards. 🙂

Pre-Requisites: Walking. Weight Changes. Extensions. One does have to have mastered one’s walk and possess stability in their embrace without using the embrace for stabilization against their partners before they can initiate these ideas.

Difficulty Rating: 2 out of 5 stars (2 / 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 Case For WHY You Need This ? Actually, you don’t need it. Huh ? Hmmm…that’s no way to sell videos or subscriptions. You’re right. It’s not. That’s because we’re not in the business of teaching you useless vocabulary that you probably don’t need. Stay with us on this one, it’s not going where you think it is. From a very specific point of view, this is cool vocab. No doubt about it. However, from another point of view, the one of the social dancer who’s been dancing a while, a long while, this is nothing more than vocabulary that doesn’t further the cause of Social Dancing. Now here’s the kicker – Both, yes, BOTH points of view are valid. Here’s why:

From the Social Dancer’s point of view, you’re never going to use this stuff. Maybe once in a blue moon, but in reality the better that you get, the less you use this stuff. From their point of view, it’s four pieces of vocabulary that you need: The 6 Ways of Walking, Traveling Ochos/Milonguero Ochos, The Follower’s Molinete/The Milonguero Turn, and lastly – The Argentine Cross. That’s it. That’s all you need. From the Dancer’s point of view that’s hasn’t mastered this stuff yet, this is cool and you want to play with it, and to be able to master it. To find it’s in’s, out’s, how’s, and why’s, and mostly to have fun with it. Both points have their merits.

And now to the one twist in our point that you probably weren’t expecting. This stuff actually has validity, maybe not from a social dancing perspective, immediately, but more from a movement, and musical perspective. The fact is that this is all about one thing and one thing only: Skillz!

There’s a reason you study vocabulary like this, and it’s not because it’s cool (it can be), or that’s it’s musical (it is), or that it’s fun (it is that), or that it adds a little spice and variety now again (the once in a blue moon methodology). It’s because it’s all about your Foundation. Or put another way, because this vocabulary works your foundation in a really good way, by breaking down the movements to their component elements, so then you can become a much more fluid dancer so that you can use it, or not. It’s about availability, accessibility. Not about using it. Using it is entirely up you. But working the instrument, that’s what this vocabulary does. It works your instrument, … ahem…that’s you in case you weren’t paying attention.

No one wants to admit that they need help. That their dance isn’t stellar. Furthermore, you really don’t know that your dancing skills aren’t absolutely amazing until you see a room full of people all dancing way better than you are. And then you see it and feel like the poor cousin at the kiddie table during a holiday meal. There’s a reason those people have achieved ‘better’. It’s doing work like what you see in the video above. Being able to turn this stuff on and off as if it were a switch. A good portion of the time when we’re dancing we only think about the ‘cool’ toys in our dancing and we neglect the one thing that makes those cool toys possible: Our Foundation. That is, in case you’re not paying attention, this video series and others like it.


bsas-prep-title

this video can be purchased through the tango topics store 🙂

About The Video. This video comes is 14:16 in length in ONE section broken up by markers. Both lead and follower technique are combined and integrated in the video.

Section 1 – Introduction – 00:00:48
Section 2 – Lead Technique/Follower Technique – 00:01:15
Section 3 – Side Step Resolutions – 00:02:06
Section 4 – Parallel Linear Rock Steps (Example: Close Embrace) – 00:00:20
Section 5 – Parallel Linear Rock Steps/Resolution (Example: Close Embrace) – 00:00:18
Section 6 – Cross System Rock Steps – 00:01:27
Section 7 – Cross System Resolutions – 00:02:38
Section 8 – Cross System Examples with Resolutions – 00:01:20
Section 9 – Linked Rock Steps (Multiples) – 00:01:50
Section 10 – Chained Rock Steps with Resolutions & Closure – 00:01:57.

this video can be purchased through the tango topics store 🙂

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

Have you seen the Milonga Madness 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. 

REGISTRATION COSTS YOU NOTHING

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The Dark Side Salida

If you registered, which is free, you’d see the full article for free!

The 'Dark Side' Salida

The Salida. The Spanish word ‘Salida’ translates in English to ‘Exit’ or ‘Left’ as in the past tense of the verb to ‘Leave’. However when we apply this to Argentine Tango it means something else entirely different. It is a process that includes Cabeceo/Mirada, and the Entrada in the line of dance, as well as the Exit (Salida) from the dance, and walking your partner back to where you found them. In BsAs, or more formal Milongas in the world (including Encuentros), this means walking them back to their table. This is the process known as ‘Salida’. However with regards to the dance we typically only equate the word Salida with Entrada phase of the dance, and this is known as a ‘Salida’ Step. An entry (or exit) into (or from) the line and/or lane of dance. There is typically only one that gets talked about and or shown, and that’s the very typical couple side step into the lane of dance. There are, as you might imagine, loads of others. Today’s Tango Topic talks about a very specific and special one referred as the Dark Side Salida.

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 a Dark Side Salida ? It is a Salida step that is entered into from the ‘Closed’ side of the embrace. Typically any piece of vocabulary that is referred to as such is a Dark Side ‘X’,  where ‘X’ is the vocabulary is the mirror copy of the Open side of the embrace. This has nothing to do with walking systems, or embrace formats. It only refers to the bi-lateral bisection of the body or in this case the couple’s embrace.

A Dark Side Salida on the other hand is a whole different ball of wax. It’s not your typical side step into the lane of dance, because … because doing so would step you out of the lane of dance and off the floor.  🙁 That would be bad. No. A Dark Side Salida step uses very simple, or basic, tango vocabulary put together to form figure in order to accentuate the ‘Closed’ side of the embrace AS the opening step of the dance! To be fair, while you can use this piece of vocabulary at nearly any point in the dance, employing as the Salida step has certain benefits, one of which is that it has incredible musical properties (not shown in the video).

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 Case For WHY You Need This ? Actually, you don’t need it. Huh ? Hmmm…that’s no way to sell videos or subscriptions. You’re right. It’s not. That’s because we’re not in the business of teaching you useless vocabulary that you probably don’t need. Stay with us on this one, it’s not going where you think it is. From a very specific point of view, this is cool vocab. No doubt about it. However, from another point of view, the one of the social dancer who’s been dancing a while, a long while, this is nothing more than vocabulary that doesn’t further the cause of Social Dancing. Now here’s the kicker – Both, yes, BOTH points of view are valid. Here’s why:

From the Social Dancer’s point of view, you’re never going to use this stuff. Maybe once in a blue moon, but in reality the better that you get, the less you use this stuff. From their point of view, it’s four pieces of vocabulary that you need: The 6 Ways of Walking, Traveling Ochos/Milonguero Ochos, The Follower’s Molinete/The Milonguero Turn, and lastly – The Argentine Cross. That’s it. That’s all you need. From the Dancer’s point of view that’s hasn’t mastered this stuff yet, this is cool and you want to play with it, and to be able to master it. To find it’s in’s, out’s, how’s, and why’s, and mostly to have fun with it. Both points have their merits.

And now to the one twist in our point that you probably weren’t expecting. This stuff actually has validity, maybe not from a social dancing perspective, immediately, but more from a movement, and musical perspective. The fact is that this is all about one thing and one thing only: Skillz!

There’s a reason you study vocabulary like this, and it’s not because it’s cool (it can be), or that’s it’s musical (it is), or that it’s fun (it is that), or that it adds a little spice and variety now again (the once in a blue moon methodology). It’s because it’s all about your Foundation. Or put another way, because this vocabulary works your foundation in a really good way, by breaking down the movements to their component elements, so then you can become a much more fluid dancer so that you can use it, or not. It’s about availability, accessibility. Not about using it. Using it is entirely up you. But working the instrument, that’s what this vocabulary does. It works your instrument, … ahem…that’s you in case you weren’t paying attention.

No one wants to admit that they need help. That their dance isn’t stellar. Furthermore, you really don’t know that your dancing skills aren’t absolutely amazing until you see a room full of people all dancing way better than you are. And then you see it and feel like the poor cousin at the kiddie table during a holiday meal. There’s a reason those people have achieved ‘better’. It’s doing work like what you see in the video above. Being able to turn this stuff on and off as if it were a switch. A good portion of the time when we’re dancing we only think about the ‘cool’ toys in our dancing and we neglect the one thing that makes those cool toys possible: Our Foundation. That is, in case you’re not paying attention, this video series and others like it.


bsas-prep-title

this video cannot be purchased, it is available only to subscribers 😉

About The Video. This video is 12 Minutes in length and shows a very specific Salida step that you can use in the opening of your dance. It can not be purchased at this time, and is only available to Tango Topics Subscribers in the Technique Library. 

Related Videos and Requirements.

Six Ways of WalkingDownload.
Walking Exercises – Article
The Follower’s Molinete – Article/Download
The Argentine Cross – Article/Download

this video cannot be purchased, it is available only to subscribers 😉

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 Reverse Embrace

Reversing The Embrace

There are certain defaults that we possess after years of dancing. We don’t realize that they’re defaults but they are. And for the Non-native speaker, ‘default’ in this case means unconscious ways or methods of doing something that is performed frequently. ‘Defaults’ from a Tango perspective could mean but is not limited to how one crosses one’s feet, how one engages the embrace, how one asks for and follows a series of ochos, how one would follow a molinete, etc. These are default behaviors. We learn them as a result of several things, not the least of which is how we (at the time that we acquired the information) bodies weren’t able to accomplish an end goal so we do what we can and as a result we end up imprinting the ‘less-than-desirable’ way of moving, or engaging the embrace (read that as squeezing, pulling, pushing, hanging, etc), or crossing, or molinete, or …. or…. those ways of moving into vocabulary to accomplish the goal, even though it’s not desirable. We don’t realize that we have formed this way of moving, and it’s now ‘comfortable’ even though it’s contorted (mostly) and at the same time we sort of forget how to do X, Y, and Z properly (mostly because we don’t have someone poking and prodding us to remind us about X, Y, and Z and how it should be done) and therefore we stop paying attention to it. This becomes our ‘default’ behavior in Tango.

The Concern: This isn’t so much of a problem but rather a ‘concern’, something to be mindful of that if left unchecked, can create problems for us later on down the line. A good portion of you reading this will only look at the video and see this cool toy, and not look at the deeper issue that’s really going on here. A fair number of you will see the issue but not pay it any mind, thinking that this doesn’t happen for you. You’re perfect. Right ? Furthermore, a smaller number of you will only see that this isn’t just a Lead issue, but a Follower one as well! 😉 So what’s the concern ? That we as dancers become very accustomed to sending AND receiving kinesthetic pressure/compression/force/resistance information via the embrace which 9 times out of 10 creates more issues for us than we would like. This becomes our default behavior in the dance. The key component here is ‘sending’ and ‘receiving’. You’re going to think that sending refers to ‘leading’ and that receiving refers to ‘following’, when both messaging happen for both roles at the same time. A lead or follow both send AND receives information. Mind you a good portion of both roles, don’t actually listen to the other but that’s a story for a later topic. However, as a result of this way of dancing, we tend to get stuck or bogged down in our default behavioral responses and can’t see another way of moving.

One way that we can get unstuck and really start to open ourselves up to our preconceived notions of what we’re doing and why we’re doing it is to Reverse the Embrace structure.

What is ‘Reversing’ the Embrace ? It is exactly what it sounds like. – as a Lead and a Follow, we’re reversing the embrace structure.  Meaning that the Lead’s right arm is where the Follower’s right arm would be, and the lead’s left goes around the Follower. And vice versa. That’s it, that’s all. However, the question you’re going to have is why do this ? For that part, read on. However, the benefits of doing such a thing are wide and varied but this is the short and curly version: Because doing so changes your awareness of what you’re leading and following. For example: In the case of an Ocho from a Follower’s perspective, you may discover that you’re engaging in Traveling Ochos out of habit when in fact there was no actual Lead for the Traveling Ocho to occur. Another example: If you’re leading the Follower’s Molinete to your own Giro, you’ll more than likely discover that you’ve been engaging in a Lazy Man’s Turn for ages without realizing that you’ve been doing it! Crosses, Turns, Sacadas, Colgadas, and Volcadas even….everything gets turned upside down and in that turning things upside down, things tend to get righted, quickly!

Let’s be clear about something, don’t confuse this with swapping roles, or giving up the lead. No. That’s a whole different can of beans. This is solely swapping the embrace format to see how things are working (more like aren’t working but are being implied) more than anything else.

Difficulty Rating: 1 out of 5 stars (1 / 5)

From a Following Perspective you may not realize that you to have a default way of moving, a default expectation and responses. You may, erroneously, believe that The Reverse Embrace structure outlined above in the video applies ONLY to the Lead/er (and Lead). Not true. It applies to you as well. How’s that ? Simple, you have the same embrace biases that the Lead does only to a smaller degree, however your concern is that you have a set way of doing things, specifically your turns, ochos, and crosses. By reversing the embrace, you realize just how awkward things feel. The awkwardness is a key component to making things feel effortless. Truthfully we want the awkwardness to occur, it creates a scramble in us and we want it to occur. Why ? Because it shows us just where we’re our expectations are at, and more importantly where our defaults are at and how they present themselves. By reversing the embrace you will recognize those things as well as where you are compensating for a poor or unclear lead to do X, Y, and Z. Or more importantly having to infer what a Lead (the person not the action) is or more than likely is NOT doing. It’s the inference that we’re really after. Why ? 2 reasons. Firstly, we can clean up what we’re doing, and secondly it also creates a place for us to interject an idea or two (think ‘active’ follower).

We have to address the larger resistance based follower crowd that may be reading this: You have issues. Resistance is not desirable. It’s work. Hanging, Pulling, Pushing, not so much with that. You will never progress to dancing with the desirable leads in the room as a Follower if you continue to utilize this way of moving, and reversing the embrace will only make things 10,000 times more challenging for you. “Challenging” is an understatement. More like downright impossible. You are hardwired to use your embrace and the lead/ers embrace to stabilize yourself in turns, ochos, and crosses. So ‘hearing’ (really ‘feeling’) the nuances of the dance are outside your abilities at this point because you are unstable, and this nuance topic of reversing the embrace is more of a ‘WTF’ than anything else. 

From a Leading Perspective a good portion of Lead/ers (not necessarily a Lead – we’ll get to that in a moment) rely heavily on the asymmetry of the embrace to communicate our intentions, specifically our left arm and hand (for a lot of leads) in turns and ochos (think ‘resistance’), and for a smaller number of leads their right forearm and a much smaller number of leads that use their right hand to paddle their followers into turning or stopping. This is using the embrace to communicate our intentions, or more to the point forcing the follower to do X, Y, and Z through compression, tension, resistance, and physiological pressures. These pressures are ‘messages’ to the Follower and what a good portion Lead/ers that use this way of dancing don’t realize is that this is not a desirable way of dancing. A Lead does NOT use these things, much like a Jedi uses the force for knowledge and defense – never for attack, they use body-on-body contact to communicate their intent without pushing, pulling, or physiological arm/hand pressures to indicate their intent. And even a Lead that does all of that properly still has a default set of movements, a default set of expected responses, that they’re unaware of. It is to that group that this topic is really speaking to. Why ? Because the Lead/er crowd of resistance based dancers have absolutely zero desire to change what they’re doing. For there to be change in that dancer, several things have to take place. Most notably they have to have reached the end of the road with Resistance Based Dancing, to be shown that it is less-than-desirable by experiencing it for themselves – what it’s really like to pushed and pulled around the floor for 12 minutes (assuming a 4 set tanda). That, and a lot of Followers saying “No” to them, and a lot of sitting. Speaking directly to the Lead reading this, you have a concern that your lead is not what you think it is, it’s not as clear as you think it is. So by reversing the embrace you will see the areas where you are weak, and where you are clear. 

The Dancing Perspective is that this is a nuance topic that a good portion of you will dismiss entirely as folly and not really helpful to one’s dancing at all. It couldn’t possibly change what you’re doing. It couldn’t possibly rewire you to do something else. That’s the dancing reality. When in fact reversing the embrace is probably one of the greatest tools you have to refining your skills as a dancer. Why ? Because ideally you want your dancing skills to be seamless and effortless regardless of what style or type of embrace you use or whom you are dancing with. Short of actual solo practice working on your technique of execution, this is one of the more useful diagnostic tools you can possibly get without a teacher in the equation! So when would you use this tool ? Simple, EVERYWHERE! Why ? Classes, Workshops, and/or Seminars ? Yup. Practicas ? Absolutely. Milongas ? Yup. Why ? Just for fun because you can. Flippancy aside, the fact is that you do want to do this everywhere in every aspect of dancing with EVERY partner that you currently dance with. Think of it as a spot check to see if you’re right about what’s going on. Right now you’re assuming that X, Y, and Z is happening. Reversing the Embrace can give you needed insight as to what’s actually happening. Yes it’s going to feel strange, but that’s solely because it’s unfamiliar. Aside from the unfamiliar part, it contains vital diagnostic information that you can’t get anywhere else!

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 ‘Ballet’ Rise

The 'Ballet' Rise Exercise

Let’s dispense with a few misnomers right out of the gate. 1.) Balance is not the same thing as Stability. 2.) Balance is a component of Stability. 3.) Your stability is generated via 3 very different mechanisms that are all connect via your nervous system. And so that we’re clear on this one, one of them is not your ‘core‘, and anyone that tells you different is either lying through their eye-teeth, or doesn’t understand anatomy and physiology of the human body. Truth be told, your ‘core‘ muscles have absolutely nothing to do with stability. Nada. Zip. Zero. 

A Ballet Rise is an exercise that every Tango dancer should be familiar with before they put on a pair of heels as either a lead or a follow, it does not matter. The exercise is designed specifically to strengthen your very, very, very weak muscles and more importantly the tendons around the first 5 metatarsals of your foot. For some people that walk in heels all day long, those tendons will be a bit stronger than some, but not always. The tendons that surround the 5 Metatarsals are the weakest for a variety of reasons, and for some people they never bother to strengthen them mostly because no one tells them that they need to do so, and as a direct result of the lack of work (read that as exercise) that they’re not doing, they’ll end up with weak tendons, and thereby unable to hold a walking or articulated foot position, or they’ll land improperly and not be able to recover from it, and or the more common of the affectations is clear and present lack of stability. This singular exercise is quite possibly the single most important exercise that they will ever need to do. And yes, believe or not, they do not know how to do this. But you’re a smart person, right ? You know how to do this, right ? Right ? Hmmmm, well just as a refresher you should watch the teaser video above to refresh your memory.

Truthfully when this topic comes up for students, they make a few very important and key errors. Not the least of which is going too fast. This exercise isn’t about speed. Speed teaches and strengthens nothing. This is about going slow. Very slow. The slower, the better! 

What is a ‘Ballet Rise’?  It is where the feet are placed together in what Tango Topics calls ‘Social Collection’, with the first metatarsals touching, and the heels touching. With one’s feet firmly planted on the floor, and the weight distributed slightly forward from the arch towards the metatarsals, and just forward of them. The dancer would rise their body upwards just using the the metatarsals in what is called a ‘relevé‘. This is done SLOWLY, on an 8 count. Very slowly. The slower, the better. And then, slowly down on an 8 count. This is one ballet rise. Theoretically one would do 10 of these each morning. The video above shows you what an Ballet Rise is. Please go watch.  

Difficulty Rating: 2.5 out of 5 stars (2.5 / 5) It should be noted that some people will have difficulty with this practice for a variety of reasons, most notably that the muscles and tendons that are used in this practice aren’t strong enough. Further one may still have issues with their equilibrium as well, which has nothing to do with the muscular or tendon strength that is required here. So it’s important to recognize that a few things have to happen here. One of which is a little time and a little patience, and two after about 3 weeks of doing this every morning right after you get up one of two things should start to happen. 1.) You’re able to do this with some difficulty. or 2.) You’re still not able to do this yet. If it’s the latter of the two, then there are equilibrium issues that need to be addressed before going any further. 😉 

From a Following perspective, you have your work cut out for you. Your stability is directly related to 2 things. 1.) How you place your foot on the floor, and your proprioceptive abilities. Meaning how and what you sense around you without looking. What makes things challenging for you is your Lead. 9 times out of 10, they’re compressing the embrace (squeezing the living daylights out of you because no one has told them to stop doing it), and/or squeezing your right hand and then using your right arm as if it were a joystick, thereby compromising you and your stability. And when that’s not happening, they’re usually rushing from vocabulary choice to vocabulary choice not really completing one idea nor the next. 🙁 And then blame you for not keeping up. Compounding the problem are you in your pretty 3 in. heels that you were forced into almost immediately when you weren’t really ready for them at all. And that seemingly were devised by a madman (actually they go back as far as the 8th or 9th centuries to the Persian horse riders as a way to stay in stirrups, and then there’s the rumor/history of a Danish king that used them to stand above his court and subjects but that’s another topic that’s already been covered in Tango Truism 809 – Volume 2). Still another compound problem is that the surface area of the heel is 40% of a normal shoe and you’re supposed to instantly master your stability in these things while at the same time, turning, disassociating, applying that disassociation (erroneously thought of as a ‘pivot’), and at the same time appearing elegant, and on/in time to what is being ‘led’, all while in the embrace of a Lead that can barely walk that’s blaming you for all of their screw ups. Yup. Tall task. Good luck with that!

From a Leading perspective, your ability to control your next steps and ultimately your next vocabulary choice is quite literally based on just how stable you are. The more stable you are, the easier it is to pull off whatever it is you want. That stability can be impacted by any number of things, foot placement, foot position, lateral foot orientation, the floor itself, knee position, an embrace that is compressive (yours and your follower’s), and a follower that is hanging on you, just to name a few. In the end you must learn how to compensate for all of these things (and one of those compensations is a slight bit of knee compression – a micro bend). Your forward steps while appearing ‘elegant‘ must also be very stable, you must learn to balance these things against each other. What makes this stuff even more challenging is that you have another human being in front of you that has their own issues going on that you must learn to ‘hear‘/’feel‘, and then learn to negate those issues (one by one) while at the same time maintaining forward momentum, good posture, while in time to the music, and all without pushing, pulling, or using resistance in any way, shape, or form so that the Follower can ‘float‘ within the construct of the embrace. 🙂 Tall order ? Yup. You didn’t think this was going to be easy did you ? And in case you’re wondering, this is just the tip of the iceberg of what makes a ‘good’ dancer good!

bsas-prep-title

The Dancing Fact is that most of these things are related to one thing and one thing only…how the dancer places their foot in contact with the floor. Note the nomenclature: ‘dancer‘. Not ‘Lead‘ (the person), Not, ‘Follower‘. No. ‘Dancer‘. Got it ? This is a gender, and really role agnostic reality that a good portion of you lot need to get your heads around. There are certain motions that are very common to both roles, and this is one of them, stability is a problem for both roles. So consequently what works for one role in terms of exercises, works for the other as well!

Quite honestly your stability can be controlled through a series of confined exercises that, if done daily, will greatly improve control of your weight transfers regardless of role, age, height, or weight! Although shedding more than a few pounds will probably do wonders for you in the long run as well.

The Ballet Rise Exercise ? One exercise that comes to mind that can help you control and contain your stability is The ‘Ballet‘ Rise Exercise. It is so named because it comes from 1st position of Ballet. However, it borrows heavily from a guiding Tango idea: Collection! The exercise is seemingly easy at first but quickly you realize that you’re going to be very unstable the first few times you try it. Truthfully you’re going to wobble, you’re going to waiver, you’re going to ‘shaky’ and uncontrolled in the beginning (read that as a few days if not weeks). However in the long run it really does a wonder on your achilles tendon, as well as the 5 metatarsals (the bones of the foot) and their related tendons, as well as the phalanges (the bones of the toes) and their tendons. Talk about a humdinger of an exercise that will blow your mind ? This is the bomb! And the best part is that you can do this by yourself, as much or as little as you want, whenever you want. Standing in line, talking to someone, anywhere. You don’t need to go to the studio, you don’t need to go anywhere. You can do this in the comfort of your own home. 

Reality. The exercise does not come without some warnings like if you’ve had surgery on an Achilles Tendon, or you have chronic Plantar Fasciitis, check with your Doctor or Physical therapist before you do this kind of work. It would be a real bummer if you had to stop dancing altogether because you have ruptured or injured your tendons! So don’t just jump right in and think that you’re good to go. If you have these issues, then check before you jump, ok ? Otherwise, read on. Still another reality is that when starting out with the ‘rise‘, it’s important that we not overdo it. So a good practice is to perform the exercise on an 8 count very slowly, 10 times. One 8 count up, and one 8 Count down…is one repetition. Doing it more than once in a day is counter productive. So it’s best to do this first thing in the morning and then to let it go. There’s no reason to do it more than that. Unless you’re feeling like you didn’t get your reps in for the day, in which case…go do. Still another reality is that more in this case is not better, the effect is cumulative, not iterative. Meaning the more that you do is not going to improve you. This work is done over time, typically a 30 day period of time at minimum.

The key to this work is really the speed at which this is done: Slower is better. This isn’t about powering through this, but rather slow and patient, mindful work! The goal of this work is to build up strength, endurance, and control. And you will learn nothing through speed! Control is not gained through powering through something but rather slow and patient understanding of this process. One more key, it is important that you not lock out your knees during this exercise. You actually want a ‘micro’ bend to them! 

The Benefits ? The benefits of this exercise will take time to show up. It’s not going to magically happen over night. Get used to that fact. This exercise requires patience, practice, and persistence to see the benefits. And quite honestly just because you do this a few times, nothing is going to magically change in your dance. Nothing. The exercise must performed religiously every. single. day. before you start your day!  The benefits will be felt gradually, and in specific how your foot comes in contact with the floor. You’ll feel a bit more control, a bit more stability and a bit more as if you can do what you want with very little effort. That’s because you’re building up the strength in the tendons around the bones in question. Something you quite honestly don’t use all that often in quite this way. This exercise forces you to use those tendons in new and expansive ways that you will end up using in tango whether or not you realize it or not. One benefit is that you will finally be able to control that super enrosque that you want, or an over-rotation because the muscles of the foot have been strengthened for you to effectively hold your weight. Whereas prior to this work, you would fall out of the rotation or enrosque! Still another benefit is that you’ll be able to hold a backstep for a few seconds longer without wobbling, or a forward step without needing to hold onto your Follower for stability! See there’s that word again, stability! In short, control the foot, and you control the application of your stability! Oh and before we forget, so the 3 things above that control your stability ? 1.) Your feet. 2.) Your inner ear. 3.) Your cerebellum! Your ‘balance’ is an affectation of your inner ear, not (for the love of christ) your ‘core’, please stop repeating that lie.

About The Video: It’s in one section, and is 10m:09s in length, and is for both roles as a practice exercise to be done everyday.

You can purchase The Ballet Rise in the Tango Topics Store. 🙂

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. 

Open post

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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Tango Articulation

Tango Articulation

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

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

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

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

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

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

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

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

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

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

Articulation defines the presentation of the Follower’s movements.

Everywhere.

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

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

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

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

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

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique. 

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

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

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