Tango Topics | Exploring Your Dance



Contortion.  You see so many different ideas of dancing tango that it sometimes very hard to differentiate desirable from the undesirable. That unless you teach you’re not going to see these issues and need to be reminded of them, frequently so that you stop co-creating these less than desirable issues.

What is Contortion ? In it’s simplest form, ‘Contortion’ is twisting your body, then placing your body, and further still compressing (squeezing) your partner’s body into you, into a physiologically untenable position, and staying there for the length of a song. Then starting the next song in the tanda from a clean position, and then starting to slide into the contorted position. This is ‘Contortion’.

And ‘yes’, it is an issue. Everyone exhibits some form of contortion. Everyone.

Before we go any further, 2 things are going to happen while you read and/or watch the video above: You’re going to immediately run to the judgement that 1.) The author/teacher is being a perfectionist. 2.) That the author/teacher is being arrogant. Neither are true. These are stark observations offered without judgement. If you see yourself in these things, then so much the better. However, the thing that you should rightfully pay attention to is not the resolution example, which gives you the idea of perfectionism, but the latter part of the video that starts at (07:36). 

That said, let’s talk about Contortion.

From A Following Perspective you have 3 primary areas of Contortion that come up for you. 1.) Arm Over The Shoulder. 2.) Side of Body Following. and 3.) Follower ‘Chicken Arm’ Distortion.

Arm Over The Shoulder – This is an outgrowth of wanting more, or deeper physiological contact with the Lead. And while the physiological contact does serve it’s intended purpose, more contact, the problem with it is that it compromises the body to do so. As a result of going over the Lead’s shoulder with yours (as shown) above, you end up raising one shoulder above the other, and thereby curving your spinal column. And as an added bonus you’ll tilt your head into your lead.

Side of Body Following – This missive is factually placing your body in the Lead’s armpit, but only having the physiological contact of about an inch or so of their body. As a result of this kind of Following, all of your vocabulary will become ‘linear’ or ‘oblong’. Example: Turns will no longer be circular, they’ll be ovals! The back step of the molinete (not a milonguero turn) will become almost impossible to do, and you’ll end up in the Lead’s armpit, thereby being behind the L/lead, seemingly never able to catch up to them. 🙁

FollowerChicken Arm – The Follower will create a loop with their left arm, placing their left hand on the ribcage of the Lead’s right side about 6 inches down from their armpit, and then bend their elbow out at a 90 degree angle, and here’s the wacky part – then they’ll raise their left shoulder above their right, thereby curving their spine, all in ‘close embrace’.

From a Leading Perspective you also have 3 areas of concern that generate Contortion. 1.) Head Tilt (Away/Towards). 2.) Side of Body Leading. 3.) Lead Chicken Arm.

Head Tilt – While the topic of Dancer Head Tilt has been detailed before, the Head Tilt that is most common here is the Tilt of the head TOWARDS the Follower. As a result the Lead will place physiological pressure on the Follower’s head. This is done without the Lead necessarily being aware that they’re doing this. Sometimes, infrequently this is Head Tilt AWAY as shown at (00:00) so as to ‘accommodate’ the Follower’s Bodily Contortion or because they don’t want to get too close to the Follower’s face or mouth area. It’s too intimate for some Leads.

Side of Body Leading – This lead missive is factually placing the Follower’s body along the side of your body. The physiological contact point is about an inch or two wide, and is a strip of contact on your body from the crease of your right armpit to your hip. As a result of this kind of Leading, all of the Follower’s vocabulary will become ‘linear’ or ‘oblong’. Example: Turns will no longer be circular, they’ll be ovals! The back step of the molinete (not a milonguero turn) will become almost impossible to do, and the Follower will end up behind YOU, seemingly never able to catch up. 🙁

LeadChicken Arm – The Lead holds their left arm out straight, level with their shoulder line, and then bends at the elbow in a 90 degree arc, towards the Follower, then grasps the Follower’s hand.

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From a Dancing Perspective these are 3 most common forms of Body Contortion that happen for both roles. You see this stuff everywhere and think to yourself “Well….if so and so is doing it, it must be ok, right ?”, and at that point you normalize the behaviors and postures of the people around you. At the same time you also have something else working against you, your memory of your last session with your ‘teacher’. At some point during that session (assuming said teacher has their collective act together) said teacher should have noticed (frequently a good portion of them don’t) and then remarked upon (again, they don’t want to hurt your feelings…mind you, it’s your money, ‘feelings’ shouldn’t enter into it!) the fact that you’re embrace, your posture, your body is contorting this way or that. And unless you are reminded about it constantly, you’ll think about it for about 2 steps and then you’ll completely forget about it. And if you’re thinking that you’ll remember this stuff on a Social Dance floor at a Milonga…think again. Stress gets in the way that happening. If you are stressed out how much space you have between yourself and the couple ahead or behind you. Or if you’ve missed something and you’re focused on that…posture, embrace, presence are the last things on your mind. You’re too damned busy freaking right the frak out. Dancing ? HA! Again this isn’t about perfectionism, nor is it about arrogance, this is demonstrable fact, proven time and time and time again.

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

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

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

You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

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

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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