Dennis is a delightful dancer from the Bay Area who spends most of his winter weekends skiing in Tahoe. The following are excerpts from his regular posts (Jan-Mar 2014) to a group of friends who’ve begun to learn Tango. We have the pleasure of teaching their bi-weekly class, and Dennis runs a Practica in the intervening weeks. We thought his posts were so articulate and helpful, and sum up so nicely things you hear from us in classes, that we should share them with you. Thank you, Dennis, for permission to post!
On Milongas
Vocabulary
In a milonga (tango dance party), songs are usually played in sets called tandas. Each tanda consists of 3-4 songs that are the same rhythm (tango, vals or milonga), and are also usually thematically linked (same orchestra, or same singer, or instrumentals). At some venues you might also have tandas of alternative music of almost any genre that the DJ thinks would be fun to dance to. One usually dances with one partner for an entire tanda. Between the tandas there is a part of a song called a cortina (curtain) that divides the tandas, and give people a chance to find a new partner prior to the next set of songs. The cortina is usually chosen to be very clearly a non-dancing song, although mistakes sometimes happen in venues with alternative music.
Establishing connection
It is not uncommon on the social dance floor that partners don't begin moving for the first two or three phrases. They first listen to the song (or load the software as one instructor put it). Then the leader offers an embrace and they search for the perfect embrace for that particular song. The leader might shift weight a few times, and the follower might tap her unweighted foot to the off beats or the melody. Then the dance will begin.
When not to say ‘thank you”
The phrase "thank you" has a very specific meaning in tango, it means the person is finished dancing with you. Some newer dancers might have a very fun first dance with someone and gush "Thank you, that was wonderful" and be surprised when their partner says "Thank you" and turns and walks away. So if you've just had a wonderful first dance in a tanda with someone and want to continue dancing with them, let them know without using the phrase "Thank you."
How long does it take to learn to dance?
Someone asked me last week how long it takes to gain some reasonable proficiency. That's a complicated question, it depends a lot on how much you work at it as well as natural proficiency, just like skiing…. Followers usually progress more quickly than leaders. The leader has to worry about navigating the floor and thinking of how to match what he knows to the music. But the follower’s role in tango is very rich, and learning to be a true partner in the dance, rather than a passive follower, can take some time. But the simpler answer probably is that if I can do it, any of you can also. Persistence and practice.
The Magic of Confidence
Add confidence to your dance- Just as you ski better when you ski with confidence, you dance better when you dance with confidence. Remember there are almost never season ending injuries on the dance floor. Tango has such a close connection that your partner can feel your confidence (or lack thereof). If you don't have it, fake it until you do. For the leaders, how can your follower know what to do if you are hesitant? The word "intention" is used a lot, the follower needs to feel the leader's intention. For the followers, step with confidence, make long steps. Lots of the fun stuff you'll learn later can only happen if you make room for the leader. For everyone, posture and confidence are tightly linked.
Elements of the Dance
Long steps for the follower [Q: How does a follower take longer steps without pulling the leader off balance.?] Part of the problem may be that the leaders are inexperienced and not used to stepping into that space…. But I think it's more likely due to the fact that a follower has three distinct phases of her back step, the reach, the weight transfer, and the collection. If the follower combines the reach with the weight transfer onto the extended foot, she will very likely be ahead of the leader and either break the connection, or pull the leader forward. When the follower first feels the leader's intention to step forward, she should reach with her free foot. However she should not transfer any weight to it until the leader moves her forward onto that foot.
[And from Victoria: Once the follower places her step with that backward reach, the leader then essentially must follow her, so that the energy of the couple is always in balance and the motion is continuous. But even if the follower is doing everything perfectly. including aiming to take long steps, she will ‘pull’ the leader off balance if his posture is wrong and/or his axis is uncertain. Both partners must keep the hips back, the chest up and slightly forward, and the knees flexible.]
Connection
Connection is an all-encompassing term that gets to the heart and soul of tango. The two most important connections are to the music and that between the leader and follower….The connection between the leader and the follower is the essence of tango. When there is a strong connection the feeling is of two people dancing as one. For the leader, it feels as though the follower telepathically knows what move is being led. The follower adds embellishments that complement the lead and the music. For the follower the sensation is of the lead as being almost imperceptible. The leader allows the follower opportunities to add to the dance,and leads moves that fit how the follower hears the music. While technique is enabling for a strong connection, it goes well beyond technique. You might dance with an incredibly proficient dancer but never really feel that sense of connection, yet have a strong connection in a dance with a less proficient dancer. In an analogy to skiing, you sometimes have that feeling of effortlessly linking 4-5 perfect turns, and you continue to search for that feeling. In dancing, you might feel that strong connection for a single phrase in a song, but it brings you back for more.
The Embrace
There is no one embrace for tango, it changes according to the couple, the music, the mood, and the style of tango being danced. There are some general principles.
The blessing and curse of Patterns
The blessing is that once you learn the steps they can free your mind to concentrate on technique and musicality. The curse for the leader is that when you're repeating a pattern you don't really know whether your lead is effective or if the follower is simply following the steps by rote. For the follower, every step in tango is a unit, and the leader can lead any step from any position. So becoming dependent on a pattern can lead to anticipation of a step that does not happen (or is not led). So use them as an effective learning tool, but realize you will eventually move beyond them.
…Tango is not two people facing one another and walking the same memorized steps together. The point of a pattern is to learn how to lead, or follow, the individual steps in the pattern. The follower plays a key role, as she should work very hard to follow the lead she feels, not walk the steps she's memorized. It's a fine line between being accommodating and being obstructive. Followers; Please be patient with the leader, who is trying to remember the steps, listen to the music, look out for traffic, and lead the follower. Leaders: if you are having trouble getting your partner to take the "correct" step, don't use your hands and arms [or verbal ‘instructions’!]. Ask the instructor for help diagnosing the problem.
Leading
Think of leading as analogous to a conductor at the symphony. The role is to keep the time and keep everyone together. But the music should be in the forefront, and the conductor should be in the background. The musicians still express their own musicality. Similarly a good leader often fades into the background as the follower expresses her musicality. Just as you never see the conductor pluck a string for the musician, the leader never forces a follower, but instead suggests and invites.
Thanks again, Dennis!
On Milongas
Vocabulary
In a milonga (tango dance party), songs are usually played in sets called tandas. Each tanda consists of 3-4 songs that are the same rhythm (tango, vals or milonga), and are also usually thematically linked (same orchestra, or same singer, or instrumentals). At some venues you might also have tandas of alternative music of almost any genre that the DJ thinks would be fun to dance to. One usually dances with one partner for an entire tanda. Between the tandas there is a part of a song called a cortina (curtain) that divides the tandas, and give people a chance to find a new partner prior to the next set of songs. The cortina is usually chosen to be very clearly a non-dancing song, although mistakes sometimes happen in venues with alternative music.
Establishing connection
It is not uncommon on the social dance floor that partners don't begin moving for the first two or three phrases. They first listen to the song (or load the software as one instructor put it). Then the leader offers an embrace and they search for the perfect embrace for that particular song. The leader might shift weight a few times, and the follower might tap her unweighted foot to the off beats or the melody. Then the dance will begin.
When not to say ‘thank you”
The phrase "thank you" has a very specific meaning in tango, it means the person is finished dancing with you. Some newer dancers might have a very fun first dance with someone and gush "Thank you, that was wonderful" and be surprised when their partner says "Thank you" and turns and walks away. So if you've just had a wonderful first dance in a tanda with someone and want to continue dancing with them, let them know without using the phrase "Thank you."
How long does it take to learn to dance?
Someone asked me last week how long it takes to gain some reasonable proficiency. That's a complicated question, it depends a lot on how much you work at it as well as natural proficiency, just like skiing…. Followers usually progress more quickly than leaders. The leader has to worry about navigating the floor and thinking of how to match what he knows to the music. But the follower’s role in tango is very rich, and learning to be a true partner in the dance, rather than a passive follower, can take some time. But the simpler answer probably is that if I can do it, any of you can also. Persistence and practice.
The Magic of Confidence
Add confidence to your dance- Just as you ski better when you ski with confidence, you dance better when you dance with confidence. Remember there are almost never season ending injuries on the dance floor. Tango has such a close connection that your partner can feel your confidence (or lack thereof). If you don't have it, fake it until you do. For the leaders, how can your follower know what to do if you are hesitant? The word "intention" is used a lot, the follower needs to feel the leader's intention. For the followers, step with confidence, make long steps. Lots of the fun stuff you'll learn later can only happen if you make room for the leader. For everyone, posture and confidence are tightly linked.
Elements of the Dance
Long steps for the follower [Q: How does a follower take longer steps without pulling the leader off balance.?] Part of the problem may be that the leaders are inexperienced and not used to stepping into that space…. But I think it's more likely due to the fact that a follower has three distinct phases of her back step, the reach, the weight transfer, and the collection. If the follower combines the reach with the weight transfer onto the extended foot, she will very likely be ahead of the leader and either break the connection, or pull the leader forward. When the follower first feels the leader's intention to step forward, she should reach with her free foot. However she should not transfer any weight to it until the leader moves her forward onto that foot.
[And from Victoria: Once the follower places her step with that backward reach, the leader then essentially must follow her, so that the energy of the couple is always in balance and the motion is continuous. But even if the follower is doing everything perfectly. including aiming to take long steps, she will ‘pull’ the leader off balance if his posture is wrong and/or his axis is uncertain. Both partners must keep the hips back, the chest up and slightly forward, and the knees flexible.]
Connection
Connection is an all-encompassing term that gets to the heart and soul of tango. The two most important connections are to the music and that between the leader and follower….The connection between the leader and the follower is the essence of tango. When there is a strong connection the feeling is of two people dancing as one. For the leader, it feels as though the follower telepathically knows what move is being led. The follower adds embellishments that complement the lead and the music. For the follower the sensation is of the lead as being almost imperceptible. The leader allows the follower opportunities to add to the dance,and leads moves that fit how the follower hears the music. While technique is enabling for a strong connection, it goes well beyond technique. You might dance with an incredibly proficient dancer but never really feel that sense of connection, yet have a strong connection in a dance with a less proficient dancer. In an analogy to skiing, you sometimes have that feeling of effortlessly linking 4-5 perfect turns, and you continue to search for that feeling. In dancing, you might feel that strong connection for a single phrase in a song, but it brings you back for more.
The Embrace
There is no one embrace for tango, it changes according to the couple, the music, the mood, and the style of tango being danced. There are some general principles.
- Comfort- You normally dance 3-4 songs with one person, so 10-15 minutes. So an embrace must be comfortable for both partners. If there's a significant height discrepancy, be sure you're not making someone hold their hand in an awkward position. It's OK between songs to ask someone if they can hold their hand a bit higher or lower. Leaders, remember the spine is not a fingerhold for pivoting your partner.
- Communication- The embrace is the mechanism that allows the leader and follower to communicate during the dance. A quiet upper body helps distinguish signal from noise. Some resistance in the embrace allows the partners to know where the other person is.
- Safety- It's important to not run into other couples. On a crowded floor the open side of the embrace (leader's left, follower's right) must sometimes be compacted. If you can't see past a woman's hair, you might need to change to an open embrace in order to see.
- Dynamic- The embrace must move and breathe. The closed side of the embrace for both partners must move. The leader must avoid a right hand that sticks to one spot. The follower should not grab the leader's bicep.
The blessing and curse of Patterns
The blessing is that once you learn the steps they can free your mind to concentrate on technique and musicality. The curse for the leader is that when you're repeating a pattern you don't really know whether your lead is effective or if the follower is simply following the steps by rote. For the follower, every step in tango is a unit, and the leader can lead any step from any position. So becoming dependent on a pattern can lead to anticipation of a step that does not happen (or is not led). So use them as an effective learning tool, but realize you will eventually move beyond them.
…Tango is not two people facing one another and walking the same memorized steps together. The point of a pattern is to learn how to lead, or follow, the individual steps in the pattern. The follower plays a key role, as she should work very hard to follow the lead she feels, not walk the steps she's memorized. It's a fine line between being accommodating and being obstructive. Followers; Please be patient with the leader, who is trying to remember the steps, listen to the music, look out for traffic, and lead the follower. Leaders: if you are having trouble getting your partner to take the "correct" step, don't use your hands and arms [or verbal ‘instructions’!]. Ask the instructor for help diagnosing the problem.
Leading
Think of leading as analogous to a conductor at the symphony. The role is to keep the time and keep everyone together. But the music should be in the forefront, and the conductor should be in the background. The musicians still express their own musicality. Similarly a good leader often fades into the background as the follower expresses her musicality. Just as you never see the conductor pluck a string for the musician, the leader never forces a follower, but instead suggests and invites.
Thanks again, Dennis!
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