TANGO TRUISMSthe not-so-secret guide to better dancing

by Miles Tangos

Copyright © 2013 by Miles Tangos

Cover design by Miles Tangos

Book design by Miles Tangos

All rights reserved.

No part of this book may be reproduced in any form or by any electronic or mechanical means

including information storage and retrieval systems, without express written permission from the

author!!

The only exception is by a reviewer, who may quote short excerpts in a review.

ISBN-978-1-304-68295-6

Foreword

This book is dedicated to my students, who have given me a lot. Without them I wouldn’t be where I am to tell you these things. The book was compiled really, and it wrote itself. Which is what writing should do, books should flow and this one was easy to ‘write’. But it took many years to get to a point where it actually wrote itself!

Thank you to you for actually purchasing this thing. Honestly it was never my intent to sell my truisms, but here we are and now you have them in your hand. It has been a labor of love, frustration, patience, thought, and lots of hard work to get this to you in this form. So thank you for spending your hard earned money on these few fleeting thoughts of mine. I appreciate it greatly.

Pardon the few spelling mistakes here and there, the odd use of grammar, and the deliberate usage of it, it was intentional in a lot of cases. The spelling mistakes weren’t though...I couldn’t hire an editor! I am just a tango teacher after all, I did my best with what I had. So pardon the errors. Hopefully you’ll overlook those and be focused on the intent.

A few notes about the book itself. Each page is a complete thought, however there are related ideas in the form of links that couldn’t necessarily exist in the facebook version that I have greatly expanded. There has been some ‘culling’ and ‘revision’ work that was done for the sake of clarity. Some of the earlier truisms have changed, the language is a little bit more constructive, and the ideas a bit sharper and clearer. The meaning and intent is still there, with sharper clarity, hopefully. While the book is meant to be used in its digital form, it can also be a great resource in it’s printed form as well. I hope you enjoy it.

Today’s Tango Truism 1#Walking

Tango Is A Walking Dance. If you work on your walk, you are working on your dance. Make your walk amazing and your dancing will be amazing. Keep your feet on the ground at all times, and your dance will become grounded, clear and connected.

Notation: Make your walk clean, stable, clear, simple, safe, elegant, controlled, and did I mention clean, where you do not need a partner to walk with you in any way, shape or form, to stabilize you, push or pull, or 'hang'...and you have started on the path to a 'good' walk, and therefore a good dance!

Today’s Tango Truism 6#Follower

There is this belief, and practice, that is taught that the Follower must ‘wait’ for the lead.

News flash: NOT!

This is a kinesthetic conversation between Lead and Follower on multiple levels all at the same time. You’ll hear many teachers use ‘waiting’ to describe the role of the follower. ‘Waiting’ means that the follower is giving up their power and relinquishing their choice, and their voice to the lead. This way of dancing while still quite popular, no longer represents the ‘norm’. There is another way to dance that is egalitarian, reflects a modern attitude, and truthfully is a little more honest.

In reality both Lead and Follower must listen to each other. So it’s not a matter of ‘waiting’ but ‘listening’! This is not simple word replacement either. It’s something far greater than that: It’s a conversation! Unfortunately, tango is not taught from this perspective, instead it’s usually taught from the perspective of the Follower is a willing supplicant that must comply.

(see ‘Follower’ 14, 21, 25, 89, 97, 98, 101, 147, 151, 160, 192, 205, 206, 318, 384, 450, 451, 452, 453)(see ‘Lead’ 6, 15, 37, 38, 59, 62, 81, 97, 100, 115, 128, 140, 141, 150, 151, 173, 193, 194, 281, 305, 306, 314, 316, 317, 379, 388)(see ‘Wait’ 6, 89, 101, 306, 451)

Today’s Tango Truism 41#collection

“Collection”. You’re going to hear this word a lot, simply put it is when your feet are together. A clearer example would be Left 1st Metatarsal touching the Right 1st Metatarsal (➤ http://bit.ly/1f394eu), and the left inside heel is touching the right inside heel. Anything else that is defined as ‘collection’ breaks the visual line of the follower, and creates more problems than it’s worth when taking a back step, as well as walking into the argentine cross!

'Collection' helps to create stability, clarity, and visual cleanliness for both Lead and Follow.

“Collection” ➤ http://bit.ly/1f394eu

(see ‘Stability’ 41, 201, 255, 352, 353, 354, 407)(see ‘Collection’ 41, 86, 88, 220, 266, 354, 389)

Notation: There is a version of Collection, which is commonly taught, where the dancer’s feet are in a ‘V’, the heels are collected and the toes point out at opposite 45 degree angels. This ‘V’ creates a much larger problem than you may be aware of: a.) It creates a linear argentine cross, and an oblong molinete. b.) the Follower by default will open their hips, thereby sending their leg back on the diagonal and contributing to the linear vocabulary. c.) it will contribute to the Follower ending up in the lead’s armpit, and not directly in front of the lead, thereby making more work for themselves. d.) it can contribute to breaking the visual line of the Couple as a whole, and e.) opening the hip will force the follower to step away from their lead in side steps, and ochos.

(revised)

Today’s Tango Truism 100

There are 3 ways to Lead & 3 ways to Follow:

a.) ‘Two Pounds of Pressure’ (Resistance).

b.) Engagement. (see ‘Engagement’ 100, 271, 294, 334)

c.) Intention. (see ‘Intention’ 11, 100, 136, 154, 316, 382, 425, 428, 433)(see also ‘Intention Based Dancing’)

‘Pressure’ by itself is not Resistance, it is more like ‘Compression’. However, ‘two pounds of pressure’ is Resistance. This is merely a descriptive of what Resistance is like.

These things are used as ways to ‘connect’ with your partner, however only 1 of them serves that purpose (Intention). The other 2 only serve to limit and control the communication between the couple. However ‘Engagement’ does serve one nice purpose when used properly, it creates sharp lines for both Lead and Follower for short periods of time. Although you’ll find dancers that use ‘Engagement’ a lot, which borders on performing for the 15th row!

(see ‘Lead’ 6, 15, 37, 38, 59, 62, 81, 97, 100, 115, 128, 140, 141, 150, 151, 173, 193, 194, 281, 305, 306, 314, 316, 317, 379, 388)(see ‘Pressure’ 100, 111, 136, 223, 233) (see ‘Resistance’ 111, 136, 223, 270, 305, 314, 325, 334, 336, 425, 433, 445, 447)

Today’s Tango Truism 104

To improve your dance requires work, time, sweat, sacrifice, and yes ... pain. Yes, there will be tears, and yes you are going to quit, probably several times. Yes you are going to spend money...lots of it! In the end, there will be a payoff -> Some night, somewhere down the line, you'll be at a milonga, or a practica, where you get to dance the dance you've been wanting, and you've trained for this moment, and it finally happens. That's the beginning of the payoff! There are more. That's just one.

(see ‘Pain’ 104 106 115 121 148 404)

Notation: This moment in time will occur again, maybe several times. However, there is a caveat to this 'magical' moment of readiness occurring. Just because you're ready, a.) does not mean that the world knows you are ready, b.) that the world cares that you've improved, and/or c.) that you haven't burned your tango credibility, which will take time to rebuild with lots and lots and lots of dancing! In time...it will come.

Today’s Tango Truism 205#Argentine #Cross

The 'Argentine Cross' (steps 2 through 5 of the basic 8 - see 382) is follower’s vocabulary! It is solely theirs, not the lead's (sorry leads)! It’s the place where the follower shines the most in their technique, especially the 2 steps leading up to it, and the step out of it (forward, side, or back)! It’s also the place where the follower can influence an accent note, and in fact slow down or speed up the lead.

The ‘Crossing Step’ is the only time in any social dance where the follower knowingly and quite willingly crosses their feet! And last but not least it is one of 4 times in Tango where the follower can literally change the course of the dance, redirect the flow, and suggest something else!

(see ‘Follower’ 14, 21, 25, 89, 97, 98, 101, 111, 118, 147, 151, 160, 173, 192, 193, 194, 205, 206, 316, 318, 384, 450, 451, 452, 453)

Notation: What are the 4 places where the follower can suggest something else ?

1.) The Argentine Cross.

2.) Nearly all Pasadas. Think about it for a moment - the lead is literally 'waiting' for the follower! The lead is 'vulnerable' at this juncture, and in that moment an idea can be interjected!

3.) An open embrace turn (especially on the forward step). By stepping slightly away from the lead, the follower can change direction, tone, and pacing! And either slow the lead down or speed them up!

4.) Nearly all Paradas. Same reason for Pasadas!

Today’s Tango Truism 240#Relationship #Guideline

While dance romance relationships rarely work out due to the inherent drama, or the very nature of Tango which is a polyamorous type of behavior, there are ways they can succeed given the right conditions, enter: The Rules of Engagement! These are a series of guidelines that can create a safety valve in the dancing part of the relationship so that the romantic part of the relationship can actually survive and perhaps thrive!

(see ‘Romantic’ 157,162,163,174,177,187,199,240,291)

While this is not a complete list by any stretch of the imagination, here are 10 rules to think about, make up your own and work with whatever is comfortable for you.

1.) Dancing the 1st and/or last tanda with your romantic partner.2.) No more than 2 tandas with anyone at a milonga that is NOT your romantic partner. 3.) No sitting together as a couple, unless married.4.) No arriving together as a couple, unless married.5.) No engaging or acknowledging the relationship at all (granted this is akin to putting ones head in the sand, because the the whole room knows you’re sleeping together! So why hide it? Honestly, if you’re not ready to acknowledge the relationship you’re going to create more problems than it’s worth, lots more gossip than you’d like), unless married.6.) No longing looks across the room that isn't a cabeceo/mirada. 7.) No lingering dances when dancing with someone else.8.) No kissing on the cheek on the dance floor that isn’t your romantic partner.9.) No dancing with the Ex! (this just may not be possible)10.) Dancing ONLY with your romantic partner. (honestly, this is the kiss of Tango death!)

Today’s Tango Truism 306#ThinkDifferently #DanceDifferently

There is a difference between a lead and a leader!

A Leader is about control. This person pulls, uses force, grips their Follower’s body, exerts compression across the Follower’s back, and expects resistance from the Follower.

A Lead is about invitation! This person guides, suggests, cajoles the Follower to movement, uses the Follower’s motion to redirect their own motion. They don’t employ the use of force, or tension, or resistance in any way, shape, or form for the purposes of controlling their Follower.

(representation in this document as: lead/er)

They’re not the same things!

Leading, on the other hand, employs the skill of invitation and suggestion, to lead someone to do something WITH you, not for you! This is the beginning of dancing, not the end. The fallacy is believing that you as a lead are controlling the follower to tell them what to do and when to do it. The reality is that you are inviting them to work with you in time to the music!

Notation: The difference between these two ideas (leader and lead) is not merely the words themselves, it’s not just language, but rather the mindset behind it. When you stop and you think about it, nearly every tango class, workshop, or seminar where a teacher is talking about leading the follower to do X, Y, and Z...9 times out of 10, that teacher has next to nothing for the follower except to, wait for it (seriously), ‘wait for the lead’. Which is really about controlling or ‘managing’ the follower’s possible responses, instead of setting them free to interject an idea!

A Leader is about telling the follower what to do, and really if this were 20 to 30 years ago, it was how to do it as well!

A Lead on the other hand is all about creating options and opportunities for the couple to explore, to create a conversation, in time to the music. This idea or way of dancing is relatively new to the tango world...and is part of ‘Intention’ Based Dancing!

(see ‘Lead’ 6, 15, 37, 38, 59, 62, 81, 97, 100, 115, 128, 140, 141, 150, 151, 173, 193, 194, 281, 305, 306, 314, 316, 317, 379, 388)(see ‘Wait’ 6, 89, 101, 306, 451)

Today’s Tango Truism 452#WeightTransfers

The ‘Active’ Follower, for the most part this is a new idea in tango on multiple levels. In it’s simplest form, it is about having or really about making simple choices with your dance as a follower. How’s that ? Take for instance the Argentine Cross (see video below), there are 3 common movements (not steps) out of 13* that are available to the couple. What would happen if the follower, independently, decided to uncross their feet ? Mayhem ? or being at the ready? In today’s world, the follower is being at the ready...say 40 years ago, absolute mayhem, and tantamount to heresy Being an ‘Active’ Follower is in its best state about being an equal partner, engaging in the music, and more than a little self direction for the betterment of the couple, not the individual, but rather interjecting their own ideas, while contributing to the whole! That last part is insanely important. In one respect it is about ‘being ready’, executing proper technique. Still at another point it’s about Body Position, and Body Placement which can and does redirect the lead (see TTT 384)! And more importantly it’s all about having a voice, sharing a conversation with someone that is at once musical, and then again quite kinesthetic. And that’s just the tip of the iceberg! (see notation)

(see ‘Follower’ 14, 21, 25, 89, 97, 98, 101, 111, 118, 147, 151, 160, 173, 192, 193, 194, 205, 206, 316, 318, 384, 450, 451, 452, 453)

video ➤ http://bit.ly/18BP1Ct

*: These are ‘movements’ not ‘steps’ or patterns, as the actual count in steps is quite a bit higher depending on how you classify certain pieces of vocabulary -> Uncross, Forward (F), Side (S), Back (B), (F)(S)(B) Sacada, Single Axis Turns (Colgada Family), Multiple Crosses (F, , Social Volcadas (Volcada Family), Wrap from the Follower’s Side Step, Ganchito, Linear Boleo (Linear Family).

(see notation)

Today’s Tango Truism 452 (continued)

Notation: Let’s go back to the example of the Argentine Cross (see attached video in case you’re not clear on what is referred to as the ‘Argentine Cross’) where the follower not only uncrosses their feet, but takes a step independent of the lead! The Follower in this case, making an independent choice on their own does so for 2 valid reasons, 1.) Because it’s in the music! and 2.) Because it’s in the best interest of the couple. This may cause some discussion but the fact is that some leads appear to have difficulty navigating a social dance floor, following the line of dance, and keeping a straight line. For this reason the follower may have to take matters into their own hands and prevent a collision and possible injury by either redirecting the lead, or by coming to a stop. Had the follower just continued on in ‘Passive’ mode, certain harm would have happened, but by interjecting their need for self preservation or not to want to do harm to others, not only did the follower save the lead from an embarrassing and awkward social situation but also kept the couple going down the line of dance. This is just one example of an ‘active’ follower, there are numerous others. It should be noted that a good deal of today’s leads take this idea of being an ‘Active’ follower as interrupting ‘their’ lead. As if! Ahem. In this respect, some leads are not engaging in the conversation that can happen, the dialogue that is desirable. When in fact, when a follower is ‘active’ they’re making said lead look about 10,000 times better than said lead actually is! This idea of being an ‘active’ follower should NOT be confused with the ‘Willful’ Follower.