Tango Class IV Notes

Tango, both in the dance and in learning the dance is, to put it simply, manic-depressive.  Especially when learning the dance you'll have days when you feel totally frustrated, like it's impossible and ridiculous, like there is nothing left for it but to throw in the towel, quit, forget it and move on.  Other days, assuming you survive that long, you are on top of the world, you change your E-mail address to tangosomethingoranother, you're obsessed, tango is your newfound religion, you're in love, you can't get enough.  This only sets you up for the next plunge, and so on.  Hence a little perspective and a sense of humor are in order.  No other dance is remotely like this in my experience.  I'm not sure why, but I'm not the only person to experience this.  It is commonly written and talked about.  Some say the passion of the dance predisposes this phenomenon.  Regardless, before you do quit give yourself a few days, a week, before making a critical decision.  Tango lows are short lived.  You are not the first person to experience them.  And they are almost always followed by a tango high.  In the morning it is overcast and raining; by one o'clock the sun is shining.   Realize that in the long, even the "medium", run the highs outweigh the lows, and that eventually and ultimately they'll all be, or mostly be, highs, that you'll be a better, stronger, person, with oodles of character. And most likely you'll also be rich, famous, and you and your tango partner will live happily ever after. OK, but at least it's not boring.

Tonight we reviewed walking individually and with a partner.  Simply walking forward and back with a partner is an excellent thing to practice. See past notes and in the addenda, below, for details on walking practice.

Leader leads follower to do forward ochos and back ochos.  Review chest/hip connection and four phases of the lead/follow in previous notes.  You should practice doing this exercise until it feels effortless.  Tonight a student suggested the following metaphor: "Think of how difficult it is for one person to grab and (say) rotate a large, full, heavy refrigerator 90 degrees if the fridge were just setting there on it's base.  Then think that if that refrigerator were perfectly balanced on just one of its corners, how easy it then would be to rotate it."  You'd want that fridge to stay perfectly on it's axis, with maybe a soupcon of weight toward you so you could feel it's balance, could stabilize it, and closely monitor it's axis and balance so that it doesn't go teetering off and crashing in some random direction. The follower (and leader) needs to have good body tone throughout her body (neither totally stiff nor a "spaghetti body") and needs to dance on the balls of her feet (most of the time) giving him just enough weight so that he can feel her axis and balance, particularly when she expects a lead (we say of the follower: "one should always be able to slide a piece of paper between her heel and the floor"). Many followers, when they dance on the balls of their feet, tend to then rise up and extend the knee their weight is on. This may come from doing ballet.  Instead she needs to do the opposite, to bend that supporting knee and to extend outward with the other (non-supporting) leg. It lowers her center of gravity and makes it easier for her to twist and rotate her lower half in the direction indicated by the lead. It should be pointed out that the follower is an active participant, not an inanimate object (and certainly not a refrigerator). The leader, in giving a lead merely indicates what the follower is to execute; he doesn't do it for her or force her in any way. The (slightly weighted) connection not only permits the leader knowledge of the follower's state in terms of axis, balance, motion, etc, but also gives similar information to the follower about what the leader is up to.  Again, the follower is not a mere prop; the dance is a (two way) conversation, not a monologue.  I hope this much is already evident.  It will become more obvious as we progress.

One other consideration in leading forward or back ochos: the follower, as she brushes thru, should slow down, even pause if she hasn't gotten any indication of a lead (for the next ocho or side step) and wait for the lead.  A complaint I heard from leaders is that in practicing leading her to do forward and back ochos was that they could not keep up!  Again, as the follower completes the ocho by taking weight on whatever foot she has just stepped on, she slows down going into the brush thru for the next step pausing to see what the lead for that next step is going to be!  This is kind of a basic principle in being a follower.

We reviewed the sandwich. In the leaders second step when he takes the "extra" step while she is supposed to be starting her first back ocho, she instead does a mirror image of that "extra" step with him, or as my wife put it, "she goes with him".  What's a leader to do?  If it actually happens in the dance you (the leader) can just try again and keep trying until you succeed in getting her to do the back ocho.  But a "trick" to keep her from "going with you" in the first place is for the leader to lead that back ocho and wait until she is off her axis and committed to doing the back ocho before he takes that "extra" step.  The time difference for the leader is in milliseconds, but it makes all the difference.  And this is consistent with leading in general when we talked about in "the four phases of a lead" where, after (1) rotating her and (2) taking her off her axis, he (3) waits for her to take that lead before (4) going with her (see previous dance notes from the first or second class). This is hard to describe in print; if you don't get what I'm talking about, ask me to show you in class.

I did mention in class that if you will review any new figure and go over what we did in class before you go to sleep the night you learn it, it will have a much better chance of sticking. Otherwise, by the next day you've lost half of it and two days later it's more like 80% gone.  By next week we may as well have not taught it. Taking notes is helpful too.  I don't generally encourage video cameras because they can be obtrusive, and people get very self conscious when they think they're being videoed. Also, by taking notes you have to break the figure down and express it to yourself.  This helps you remember it.  With video it is too easy to complacently film it, put it in the can, and then forget it.  However, if you are discreet and respectful of other people's feelings,  you just want to get, say, the figures for a quick reference,  and if you will check with me first, I'm sure we can accommodate you. Given those circumstances, and that you will actually look at it and practice, I do encourage video. In future, in deference to those that do practice, I plan to do quicker reviews, to depend on you to get most of the figure the first time around, to ask questions about what you don't remember or understand, and to move on, so notes and/or video could be a good thing.  And you can always ask me questions.

We taught a version of the sandwich that starts to the leaders left.  Essentially it is just a mirror image of the sandwich we learned last time.  We didn't spend a lot of time on it, and I wasn't specific about how to come out of it.  You should experiment, improvise.  See previous notes about reversing, mirror imaging, inversing, figures.

A figure (or step) we didn't spend much time on (but should've) is the Calesita, taught in the previous class.  First, I'd like to clear up a misconception.  The calesita basically is merely a "pregnant pause" in the dance.  The leader merely stops, keeps her on her axis, and very definitely does not offer a lead. In an ideal world, this by itself should cause the follower to do nothing, however this action, or nonaction can be, as explained in previous notes, accompanied by a slight upward pressure of the leader's right hand against her upper back to emphasize she is to do nothing.  At this point the leader may rotate the follower on her right foot by backing around her 720 degrees, 540 degrees, 360 degrees, 180 degrees, 90, 75, 45, degrees, or not at all.  The calesita is not a big deal except that it adds flexibility and maneuverability to the dance.  Most of the calesitas I do rotate less than 90 degrees and quite often not at all.  If rotating the calesita is a problem, try doing it minimally or not at all.

The ocho/grapevine exercise: As mentioned (see previous notes), the grapevine is a sequence of steps, and is what could be called the "basic figure" and as such is part of the syntax of Argentine tango the language.  Either partner often does a grapevine, defined in earlier notes, but the follower does it by default when led to the side by the leader.  Often this is when he is leading her around himself (called a "moulinete). 

One question I was asked was "how does he get her started in the grapevine?".  Basically anytime he leads her sideways relative to himself she does a grapevine.  One way is to lead a side step and then a back ocho as if we were going to go into a sandwich.  But then instead of leading another back ocho (as if we were then going to sandwich) the leader simply continues moving towards, or turning to his body to, his left leading her in another side step.  The beginning of a grapevine sequence has thus been established with a side, back, side, sequence of steps.  The next step for the follower would then be a forward ocho still moving to leader's left.  He leads this step simply by either continuing to move or to turn to his left (ccw). He can augment that lead by using his chest, or even using appropriate slight pressure with his right hand, but as long as he moves her sideways around himself she continues, as a part of her technique, to do a grapevine. (See Figure)

Another example of getting into a grapevine is from the cruzada.  The cruzada itself counts syntactically as a forward ocho.  If he then leads a side step coming out of the cruzada, her next step after that would be a back ocho.  Yet another way to enter a grapevine, this time to leaders right, is again from the cruzada, but this time the leader leads a forward ocho (onto her right) and thus continues with side, back, etc.

An ocho (forward or back) can be followed either by a side step or by another ocho of the same type just done (e.g. after a forward ocho, you can either do a side step or another forward ocho).  A side step is followed always by a crossing step (ocho) of the type that is different than that which preceded the side step (e.g. you've just done a back ocho and a side step; the only possibility for the next step in this instance is to do a forward ocho)."  This is a good exercise for both leaders and followers.

The follower needs to be careful not to go too fast, but she also needs not to "hang back" too much as well.  It is a delicate balance between being responsive and being "too responsive".  Other considerations for the follower: take even, measured steps; each of her steps should be an equal distance from the leader's center of balance (a good way for the follower to gauge this is to focus on the leader's breastbone; that is where his center is; she doesn't have to look down at his or her feet);  she should try to make each movement even, not bobbing up and down with each step; maintain an even, slow, predictable tempo; keep her chest as much as possible toward leader, twisting at the hips on each ocho.  Considerations for the leader: As you lead her, try to "dance in her shoes", try to "feel what she is feeling", "experience what she is experiencing".  This will preclude leading her illogically, e.g. leading her in a step or direction that is inappropriate, awkward, or illegal.  Later  we will see that when she is thus grapevining around his position (the "moulinete" or "windmill") she to some small degree is taking over the lead, but sensitively and ready to hand it back in a heartbeat, and this is only because he may be doing a sweep, enrosque, or some other fancy footwork that momentarily prevents him from giving a deliberate lead for each of her steps .  She needs to focus on his axis and center of balance, keeping him vertical.  He can still lead with his chest, and indeed should if the ocho he is leading is preceded by another ocho and thus changes her direction of movement around himself.  Practice this exercise using the normal frame, but also various of the practice frames described in class and in other notes.

This is as good an exercise with a "phantom" partner as it is with a real partner.  Focus on identifying with your partner, phantom or real.

One of the more common complaints is that the follower, especially in practicing the figures we've taught, anticipates the lead (assuming the leader is leading a taught figure) and actually gets ahead of the leader. She thus makes herself the leader, i.e. she "back leads"; the leader is thus forced to try merely to catch up, forget about leading. This is a similar problem with the one noted above when the leader is leading the follower to do ochos and is due to the same mistake of the follower anticipating the lead.  She can and should anticipate the possibilities and be thus prepared for what the next step will be, but wait for the lead of the actual event.

Some of the "figures" we've either taught or alluded to include: (1) simply walking with your partner "in line"; (2) performing a "salida", which is simply the sequence of four steps leading to the cruzada; (3) doing a "tango close"; we taught this as part of "the box" sequence, but it can occur anytime the leader is backing the follower; (4) a "dip" which is merely balancing and reversing directions in the walk; (5) "rocking and turning" which is alternately leading her back and then forward a step (not side to side) continuously; if the leaders left foot is forward you gradually circle left, and vice versa; (6) the "sandwich" sequence to the leaders right; (7) the mirror image of the preceding moving to the leaders left ("left sandwich"); and (8) the "calesita" which is simply a "holding pattern" wherein the leader keeps the follower balanced on her right foot (usually) and rotate her (or not) ccw by backing around her (there are other variations on the calesita which we will teach later). Take these figures and see if you can combine them with simply walking (as in (1)) or with leading her in "grapevine ocho" patterns described in the previous exercise.  Think of the grapevine, ochos, and walking steps as a "matrix" and the figures as "objects in the matrix", kind of like "bricks held together by mortar". For instance, start by going to the cruzada, then walk with her a ways, then, do a tango close, then step back and to the side and execute a sandwich. Coming out of the sandwich lead her around you in a grapevine and play with that a while.  As she is stepping either back or to the side do a calesita.  Lead from that to another cruzada.  Walk some more and then do a rocking figure or dip.  Lead a her to do a back ocho onto her left foot, stop her, and do a left sandwich figure.  Etc, Etc.  Play some slow music with a strong beat that you like.  Go slow; be deliberate; relax, just play around, experiment, don't be too serious.

Try to be aware of what your partner is doing.  As with previous exercises, this (above) one is effectively done with either a real or a phantom partner. Try switching (leader/follower) roles. Critique your partner if she/he asks, but not too much or too often, and always try to balance a negative comment with a positive one (negative first, ending with the positive).  This is not only in support of egos but because it is valuable for a person to know what he/she is doing right as well as what she/he is doing wrong. 

  This concludes notes for the fourth class.  What follows are addenda either providing more detail or saying things I've already said in previous notes but in a slightly different way.  Sometimes this helps.  Thanks for reading.

Gary Diggs

Addenda

Things to think about when you practice walking: (1) Especially for followers: when the leader is backing you up, e.g. into the cruzada, bend the supporting leg and extend extend extend the non-supporting leg.  And make sure you extend (just) from the hip, not from the waist. In class we pointed out that by bending just slightly the supporting leg you can extend the non-supporting leg almost double the distance.  In ballet you are often up and extended.  In tango you are down and extended.  From the waist down think horizontal; from the waist up think vertical; the upper half is for elegance, the lower half for movement.  In the Viennese waltz you dance three inches above the surface of the floor; in tango you dance three inches beneath the surface of the floor.  Tango is an earthy dance.  Feel the energy coming up from the floor thru your feet and legs into your body.  It is good energy. Use it.  (2) The connection can disappear in a flash.  Followers, when you extend back walking backward, be sure you don't simultaneously lean back in the direction you are moving; you want to keep leaning forward slightly and continue to give (a slight amount of) weight to the leader (this is counterintuitive and requires a little practice, a lot of beginning followers, in leaning back, actually give weight in the other direction, away from the leader, causing him to lose balance and stumble forward).  Give just enough weight for a connection; you are not seriously leaning on him; you, the follower, are on your own axis, supported primarily by the floor, by your own body, not (primarily) by your partner.  But even though you do have your own weight and axis you do lean toward the leader, just enough to establish and maintain a connection, communication, and offer a little of your weight to him (which he can accept--or not). He is (generally) not there to support your weight beyond what is necessary for the connection.  It is not like he is hauling you from one position to the next; the weight you give to each other is just enough to communicate signals through the frame, e.g. from his chest to her hips. (3) It is likewise important to have a little tension in the frame, the shoulders and arms, and not to be spaghetti-like.  "Little" is the key word here.  You don't want too stiff a frame either.  Often the follower builds nervous tension which is then manifested in her right arm.  Her right elbow should not "rise up", but should "look at the floor"; and  her right elbow should maintain some bend and not become rigid, tense, or straight.  (4) Keep your carriage even; minimize up and down movement (read comments in previous notes).  Let your feet skim across the floor ("caress the floor with your feet").  (5) Regardless of which frame you use, be mindful of the two connecting points, e.g. (In the "normal" frame) the mans left hand and the woman's right on one side and the man's upper right arm and the woman's upper left arm on the other side.  The man's hand has to be placed high enough on the woman's back to offer support, otherwise his upper arm is unavailable to make contact with her's.  Also, this connection only works if the distance between partners is not too great on the man's right, woman's left side.  Remember the frame is asymmetrical, (not "squared" off) with the woman being much closer to the man on his right side than on his left (joined hands) side.  Focus on these two connecting points between partners as you lead and follow.  Practice with different (practice) frames.

99% of the problems people have are concerned with basics.  Giving and accepting weight, leading with the chest, following with the hips, brushing thru, the four phases of a lead/follow, knowing and being able to walk properly, having a good frame, having good posture and body tone, identifying with ones partner, understanding the basic syntax and defaults of the dance, knowing how to place your feet in relation to your partner, being aware of your axis and center of balance, being able to relax and go with the music, your partner's energy, your own energy.  All these things are synergistic.  All are interdependent.  All are pieces of the same puzzle.  Finding the missing piece can often and miraculously turn frustration into joy.  Take it apart, work on each part, put it back together.

In the early years of tango, and around the end of the 19th century, there were many men to every woman in Buenos Aires at that time.  To enhance their skills in order to compete for the few available women, men were obliged to practice tango with each other.  The rule was that a man new to tango had to spend at least six months being a follower before he was even allowed to try to lead.  This served a practical purpose of maintaining a pool of followers for guys to practice with, but it also had the effect that when a guy started learning to lead, he knew what it was he was supposed to lead.  All of which is interesting, but my main point here is they could do tango together and it was no big deal, was in fact accepted as part of the ritual of learning, all of which leads up to the following: 

Some people have reservations about their spouse or girlfriend dancing with another.  While this sentiment may have merit (in Albuquerque 2004 as opposed to Buenos Aires 1900), in this instance I suggest it is misplaced.  You hear things like "dancing a tango is like having a three minute affair", and "tango is the vertical expression of a horizontal desire", and etc.  But I'm saying that tango has many faces, many facets, many guises.  Certainly it can be "the dance of love" but it can just as well be many other things.  It can be a "friendly game of chess".  It can be spiritual, kind of a "Tai Chi for two".  It can simply be a game of improv to see what you can do, what's possible, or an artistic exercise to see how you can effectively interact with the music, an exercise in leading and following, etc.  I can hear you saying "who's kidding who, here", but I mean it.  I dance differently with every person I dance with.  A gay couple could certainly get into doing tango, but because you dance with someone of the same gender doesn't mean you're gay, and gay or straight, tango isn't necessarily a sexual expression.  Tango may have been part of the "brothel experience" in Buenos Aires of the early 1900's, but it wasn't limited to that venue, nor did it (necessarily) originate there.  I think tango could just as easily be a liturgical dance. It can also be friendly, sensual, passionately sensual, blatantly sexual, or even vulgar. The bottom line is that tango is a language. You can use it to say whatever it is you have a mind to say, be it trivial, profound, sexy, clever, philosophic, obscene; it's entirely up to you.

While having a main partner to practice and get good with is a good thing, having an exclusive partner isn't. The problem with practicing with just one partner, (and the reason I urge you to at least occasionally practice with more than one person, occasionally rotate during teaching) is that you begin to reinforce and compensate for each others' strengths and weaknesses.  Dancing with just one person gives you limited perspective of what you are doing right and wrong, information you need firsthand to improve.  It's like becoming inbred.  You need outside influence, outside input, new blood.  This is true even if you eventually plan to dance with just one partner the rest of your life.  There may be exceptions, but of the people I've seen that practice exclusively with each other none improve beyond a certain point.  These are often people with a lot of talent which makes their non-improvement all the more dramatic.  Also, (as a parting shot) while having a main partner can be a real blessing, having an exclusive partner in my opinion can eventually and very easily be boring.

While experience in other dance forms is usually and ultimately a benefit, in the beginning it can be frustrating.  Realize that tango is different, different frame, balance, connection. Argentine tango is a skill, like learning to play violin, not just learning a bunch of rules or figures. Be patient.  Practice regularly, either by yourself or with a partner.  Don't be afraid to just get out there and dance. You don't have to know much; just walk.  Learn to meditate.  Focus on what your partner feels and experiences.  Relax and let the music flow thru your psyche and being.  Occasionally (more the follower than the leader) shut your eyes for a minute.

Thanks again for reading.