I don’t like making posts this close together, but there’s been a last minute room change. Tonights class at UC Berkeley will be 7-10p in 233 Dwinelle Hall. Tango Study Hall: $3 students $9 community.
False alarm. Next week is 233 Dwinelle. Tonight, this week, is 222 Wheeler Hall.
For everyone who’s not coming to class tonight… think about this:
Practice doesn’t make perfect. It makes permanent. By doing a movement over and over again, good or bad, we ingrain it into our brains and bodies, muscles and nerves. While practicing one must make a habit of self reflection, to analyze and reflect about what you’re practicing and how you’re practicing it. Of course, be careful of over doing it . For some it can be very easy to fall into an analytical freeze! And above all: stay positive. This is a long journey. There’s no “slim fast” diet for learning tango.
I’ve been perplexed by this for sometime and I’d like to hear what everybody else thinks. Let’s take a look at two statements:
1) The cerebral execution of sequences focusing on accomplishing specific movements fails to allow tango to emanate from the heart, from the feeling shared between man and woman.
2) On the 5th step of the basic 8, aka salida, unless the man stops her from doing so, the woman crosses automatically.
-Oft said by many.
These are two statements that coexist in many tango teachers, despite what appears to be a logical fallacy.
Any comments?
Nov 23rd 3am UPDATE: The facebook convo is visible on my wall. I’ve copied and pasted it below:
Tosca Necoechea Oft-repeated translates to muscle memory translates to I don’t have to think/I only have to do it/the results are always perfect/but that’s old news?
Dash Sato Personally, I disagree with #2. I’m of the opinion that *everything* is led, crosses included. I don’t think that takes away from the quality of the connection–if anything, it enhances it. As far as #1, I understand the sentiment but I think it’s too vaguely drawn here. It’s *impossible* to dance without using aspects of the brain separated from “feeling” or what have you. There must be an awareness of such things as structure and functional recall of learned skills and possibilities. The argument that one can’t do that and simultaneously be engaged with the partner in an empathic way is tantamount to the argument that one can’t walk and chew gum at the same time. In other words, the presence of one doesn’t necessarily mean the absence of the other. The absence is its own thing.
David Weitzman (1) seems to suggest that choreography can’t be danced from the heart and express feeling between people.
Although I don’t agree with (2), I see no reason why you couldn’t define it as part of technique and still be able to express yourself. Concert pianists find a way to express themselves despite being completely restricted to the 12-tone chromatic scale, for example. An automatic cross during the 8-count basic seems like an unhelpful restriction, but I don’t see why dancers shouldn’t be able to express themselves even if such a restriction exists.
David, as dancers, our bodies are our musical instruments and similarly to the 12 tone chromatic scale of the piano, I am restricted to two legs. Or perhaps in the case of tango, four.
To me, an automated cross would be like telling a concert pianist that s/he cannot play certain notes of that 12 tone chromatic scale because they have been automatically eliminated because…well…that’s how the piano is taught to make it easier.
The logical fallacy I was trying to point out here has less to do with expression and more to do fundamentals. If when dancing we are attempting to lead and follow, make a connection by moving together, and the follower and/or leader has been taught to break this framework by doing an automatic movement, it destroys the synchronicity of the ideal tango.
The logical fallacy that I was trying to point out was: 1) The goal is connection, physically expressed through attentive lead and follow. 2) In this step the follower automatically crosses.
In my tango philosophy: If she is led to cross, she does. If she isn’t, she doesn’t. The only thing automatic is the quickening of my pulse. Because I’m all about ultimate connection with that as-perfect-as-possible lead and follow.
I imagine that teachers have decided to give this “rule” to students to help make a very difficult step easier. I suggest that this has had a very negative effect on many dancers, creating expectant leaders of autocrossing followers. Teaching auto steps undermines a basic tenant of the physical expression of tango: lead and follow.
I would suggest not teaching the basic 8 with outside partner steps and a cross to beginners. In a perfect world I wouldn’t teach steps, but realistically a leader in the beginning needs structure and beginners want steps. So, I would suggest a fully parallel basic 8. And only later, once both follower and leader have the body control and skill, would I introduce how to lead and follow a cross. And THEN introduce the basic 8.
I’m back and ready to speak my mind again. Here are some ideas I’d like to throw out into the interwebs:
Before you can dance Tango, you have to learn how to dance. Already know some tango and want to get better? Maybe you’re feeling stuck or like you haven’t progressed? Don’t work on your tango steps, work on your dancing.
Musicality, control, poise, posture, grace, elegance, energy, connection, spirit, and fluidity are all words universally applicable to dance, not just tango. (duh) The catch is, many of those words are essential in Tango. If you don’t do them, you’re just doing steps. Your dance is soulless and cold.
When I was trained as a dance teacher the idea was, you don’t teach a dance, you teach people to dance. In the beginning, my preference is to teach fundamental skills at a basic level, like walking, side steps, rock steps, stepping on beat, frame, control, and floor craft. And you can do that much easier if you leave Tango out of it until later.
Sacrilege! Why would I do this? Because especially in the beginning, Tango steps are really frickin’ hard. Because before you have an abrazo, you have to learn how to hold your arms up, maybe have a frame, and walk forward/side/back and watch where you’re going, and step to the music, and change directions, not step on her feet, stay calm, stand up straight… oh yeah, and breathe.
More experienced dancers of tango, try this – learn another dance. Both the 2012 World Championship leaders can salsa. I’ve been in the salsa clubs with Facundo de la Cruz. And I’ve seen first hand the badass rock dancing of Cristhian Sosa. All of my instructors in Buenos Aires could also dance salsa, rock, ballet, and/or kumbia; some of them are damn good. Because they’re dancers.
Best,
Nicholas
PS I like to put my money where my mouth is. I learned West Coast Swing and did a performance last week for the brand new Studio 1924 in Oakland, here’s the video…enjoy!
I’m pretty happy that so many people chimed in on my last blog post, it even made it to prestigious tango forum on facebook!
I learned two things:
1) How you say something is just as important as the way you say it.
2) There are a lot of haters out there.
I probably shouldn’t have used the snarky/pithy/contrite/uppity/sassy/irreverent attitude I did in my last post. Because as my friend and commentator Jocelyn pointed out, I sounded more like, “I, Nicholas, the young new instructor, shall impose my vast and experienced authority upon the women’s cross.” That’s not how I wanted it to come out, but it seems that’s how I was understood. In the forum and on the post I got quite the backlash. People were attacking my credentials instead of my thoughts.
In this blog I’m going to keep making observations and putting my thoughts out there. Possibly (probably) challenging conventions and standards. Next time I do so, it will be essential that I write in a less inflammatory way, because I’m attempting to prompt discussion and thought, not get the haters going. My cousin says, “Haters gon hate…that ain’t never gona to change.” Still… I’ll do my best to write so that people understand and react to have I have to say, not my snarky/pithy/contrite/uppity/sassy/irreverent attitude.
As long as I’m writing, I would like clear the air about my last post. I wrote it as a counter point to a popular Bay Area instructor who teaches that the proper way to do the cross in the basic eight, is to bring the ankles and heels together, placing the feet into a parallel position. Based upon my training, experience, and observation, I disagree. But I think elaborating my point of view would require an in person discussion involving anatomy and demonstrations. So instead, I attempted to give my thought some authority by I citing the current superstars of the tango world and how they cross.
For those of you who cannot speak Spanish, the ensuing discussion on facebook validated my point of view. But this is only after I was nearly crucified (haha) for, among other things, not having the appropriate credentials to teach.
I’m very excited to be teaching a group class in the Bay Area with Mirabai Deranja, starting 6:00 pm Friday, September 7th at Studio 1924 located on the 2nd floor of the 1924 Franklin Street building.
If you’re not familiar with Tango Salon, I would describe it as subtlety, elegance, and musicality with a breathtaking connection to your partner. If you’re familiar with the “idea” of Tango Salon, but aren’t interested, I encourage you to try it out. What looks easy, simple, and boring, can actually be quite difficult, complicated, and sexy. Even if you prefer to dance styles like tango nuevo or milonguero, Tango Salon offers the techniques that have been the foundations for dancers like Gustavo Naviera and Mariano ‘Chicho’ Frumboli.
Mirabai and I have been working on a very progressive syllabus for this class and we’re excited to share it with you! We start Friday Septemeber 7th at 6pm. The location is 1924 Franklin, two blocks from 19th Street Bart. We’ll be on the 2nd floor of Studio 1924 on Franklin Street.
Why should Tango Nuevo dancers get to have all the fun? They dance to anything and everything but Tango Salon dancers are stuck in the golden age.
We decided to experiment and try dancing to “Leonel, El Feo.” We’ve been getting a few comments. So let me explain: Our idea behind performing to this song was to show that dancing a more Tango Salon style is possible to newer music. It was an interesting experience.
Attempting to dance Tango Salon to Tango Nuevo music, I felt stuck somewhere between Milonga and Tango. On many levels though, it worked. There was plenty of musicality to express, there was feeling, and there was connection. But it did change my dance.
One of the things that I began to understand is how powerful the constant beat of new music can be. In golden age music the beat does not compel you to step-step-step. You can take liberties and I’ve often heard that you should dance just behind the beat for the most unhurried and elegant look. But when dancing to “Leonel, El Feo,” I had to consciously resist the urge to step-step-step to the pounding beat.
I won’t be requesting Tango Nuevo music at a milonga anytime soon, but the next time it plays, I’ll (probably) stay in the room.
Why don’t the “good” dancers ever dance with “normal” people in milongas? Why are they so stuck up? Why don’t they ever dance with everyone else?
Generally, “good” dancers want to get better. Dancing with lower level dancers will not help. This is a large part of the reason we have such a hierarchical structure in milongas. Aggravating as this system may be, it clues us in on the best way to improve.
Full disclosure: I’m a tango instructor.
Just as dancing with worse dancers lowers your level, dancing with better dancers raises your level. Private lessons are where you get that contact with a better dancer. The fastest and best way to improve your tango are consistent private lessons.
Which provides more value: Two group classes a week for a year or 20 private lessons in 10 weeks? (Both costing about $1,250) If you want to improve, it’s the private lessons.
Group classes, practicas, and milongas are essential to your abilities, providing repetition, navigation, and social skills. They cannot be left out or ignored. But I know of no better way to improve then consistent private lessons with a good instructor.
Best,
Nicholas
P.S. My teacher, the one I’ve worked with for hundreds of hours, is to this day, still taking lessons. And I am too.
A new method of Argentine Tango instruction is starting to blossom. The old method of teaching is filled with conventions that truly hinder a dancer’s progress. Conventions like, “The cross is not led, the woman just does it.” And, “Everything must be led with the chest.” Aside from being just plain wrong, it speaks to a very close-minded approach. Fortunately I’m not the only one thinking about Tango instruction and how to improve it.
The following is a list of three sites where some very open minded and intelligent people are making some incredible leaps forward in the areas of dance instruction. And while I may not agree with all of their styles or dance philosophies, I certainly do respect them as instructors and for what they’re doing.
With so many teachers out there in Tangolandia preaching the “truth,” many a disciple is left confused. Frequently said by these prophets, the phrase, “There is no one right way to dance tango,” provides little relief. This phrase idea misleads many. Quizzically, often these same instructors will tell you the “correct” way to do an ocho.
There are elements fundamentally tango and others, like clogging, that are not. In this sense, there is a correct way to tango. The confusion comes about when tango instructors have different styles and interpretations of these fundamentals. One instructor may teach those falling ochos a-la milongero style and another may teach an ocho like competitors dance it with lots of disassociation (a twisting action where the hips and the toros point different directions). Since both instructors say, “This is the way to do an ocho!” students are left to wonder…who’s correct?
They both are! They’re just different versions of the same move. And thus the famous “no one right way” phrase become more appropriate. To explain further with language as a metaphor, the milongero style, competition style, salon, and whatever style, all become different dialects. They’re the same…but different. If you’re trained in solely academic Castilian Spanish, understanding people on the streets of Buenos Aires or Mexico City can be near impossible. If you speak American English, understanding Irish English can task your abilities of comprehension. But is anybody wrong? Nope. (Except for spelling color, colour. That’s wrong for sure.)
What’s the answer here? The more dialects you understand, the better you speak the language, the more people you can communicate with. The more styles you learn and understand, the more people you can dance with, the better a dancer you become. Don’t argue with your instructor, s/he’s right (hopefully). But do remember, there’s more than one path to tango salvation.
At Delmar Tango Studio, we do our best to approach dance, teaching, and tango with humility. We use this blog not only for announcements of our activities in the San Francisco Bay Area, but as a safe space for discussion and thought. If you'd like to write a post or see a topic addressed, please contact us!
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Studio 1924
Oakland’s Studio for dance, workshops, and events.
Tango Chamyuo
Los milongueros, las milongueras, y los codigos de Buenos Aires
