Roxanna and I did a very simple dance consisting of little more than what we learned last night, the idea being that you can be creative and have fun doing tango with very simple basic steps.
We then lined up on one side of the room and played "follow the leader", practicing walking, ochos, grapevines, and the box step, along with some rocking steps. I mentioned practicing each step and figure robotically in order to practice each segment of each walking step or ocho (brush thru, pivot (if necessary), extend, and shift); then practice same by doing the opposite, i.e. making everything "liquid" where each nuance of each step flows into the next.
Continue with the walking, grapevine, ocho, exercises, with and without partner, described in previous class notes.
We described her axis, the imaginary line extending from the top of her head through the ball of her supporting foot. Her axis should be inclined toward that of her partner, giving a very slightly, but definitely weighted connection in the frame.
The lead is initiated as she is "brushing thru". As leader you do the following: There are four phases of each lead-and-follow.
These four events happen almost, but not quite simultaneously. My experience last night was that, having gotten the connection with my partner before taking the very first step, that after the first step and as she was brushing thru in preparation for the second step, that we had completely lost the connection in just half a step! Maintaining that connection, especially as the follower is brushing thru, is the responsibility of both leader and follower. The leader has to offer support; the follower has to give him something to support. Practically speaking, however, especially in the beginning stages of learning because the leader is preoccupied with keeping body and soul together with all the leading responsibilities, it falls mainly to the follower to maintain a good connection. Keeping enough distance between her feet and his, as compared to the distance between her chest and his, is key. Using "practice frames" (hands on chest; one hand on chest and other hands joined, hands on hands) is invaluable at this point as they are much easier at first than the "real" frame. If the leader doesn't automatically do this, the follower should suggest it.
It took me years to realize the concept of the man's chest woman's pelvis connection. If you recall during class we demonstrated the way to not lead was with the arms and shoulders (as Roxanna walked away refusing to dance with me). The lead comes from the man's chest and is responded to by the woman's pelvis or hips. Basically if the man's chest rotates (independent of his shoulders, try it) a few degress counterclockwise (to the left), her hips rotate (as she twists at the waist keeping her chest and shoulders toward him) maybe 50 degrees counterclockwise in preparation for the next step (probably a back ocho onto her left foot). This rotation happens in the first phase (phase (1) in the previous paragraph). I learned this concept from Florencia Taccetti, a native Argentine tango teacher, who surveyed and studied dance movement and technique of many of the dance masters, famous in the 1940s, who were still alive in the 1980s. The technique of moving one's chest in a rotating fashion requires use of muscles not nomally used in that way, and as such requires some individual practice. Once you experience this manner of leading or following, you'll never want to do anything else.
See if you can lead just two steps, or a series of back ochos, as we did in class. Each time she brushes thru, keep her on her axis and momentarily and gently rotate her in either direction (clockwise and counterclockwise) before taking her off her axis. Do use all of the various practice frames we talked about.
The "normal frame" in Argentine tango is asymetric: the leader's right shoulder is much closer to her left shoulder than is her right shoulde to his left shoulder. This is not the "squared off" position of ballroom. The distance between partners can vary; it can be close or further away. Her left hand rests on the back of his arm, on his shoulderblade, or even in the middle of his upper back or around his neck. It generally is not preferred to be against his shoulder. This varies somewhat; for instance with a very short man and a very tall woman having her hand against his shoulder may be the only practical alternative, but in general it is not recommended.
Also, unless you are dancing extremely close to your partner, and sometimes even then, you are asked to look toward your joined hands. There is usually a "window" framed by leader's left, follower's right arms. It is suggested you look thru that window formed by your partners arm. This is not an iron clad rule, but will aid in positioning yourself relative to your partner.
We divided the class, putting the leaders on one side of the room and followers on the other and taught/reviewed the cruzada and the "tango close". Together these were described as the "box" in the previous class and class notes.
Lead her thru the "box". Reverse roles and have her lead you thru the box. Focus alternatively--on one thing at a time--on: brushing thru (follower); keeping enough distance between leaders feet and follower's feet to maintain weighted connection; what partner is doing and feeling; four phase leading and following sequence (above); the music and moving (in some fashion) with, or relative to, the music.
Using the cruzada, the "tango close" (done in sequence the equal "the box"), walking forward and back, rocking forward and back, leading her back and slightly dipping, we put music on and asked you to improvise with these elements listening to the music.
Expand the previous exercise. With music and using the box as a reference, improvise with walking forward and back, rocking, dipping (conservatively), going to cruzada, doing "tango close". Improvise. Relax.
I further suggest that you put on either good tango music or just music that you like, shut the blinds, lock the front door, turn off the lights, and improvise without a partner dancing in the privacy of your living room. I believe doing this regularly, like ten or fifteen minutes a day, is as important as all of the above combined. I recommend that you allocate half your practice time simply letting the music flow through you, moving to it, practicing "not thinking". Don't worry about steps, technique, anything. Just move and feel good. Meditate maybe, or just relax. To begin with do this individually; later we'll describe exercises based on this idea that you can do leading and following with a phantom or real partner.
Practicing, even a little, every day, will make a huge difference. Thanks for your dedication. Sincerely,
Gary Diggs