Learning Tango

[David Bailey]

Last night's class, at Finchley, with the Long One:

No shoes were mentioned at any point during the class, which is a good thing I presume.

We focussed on baridas and more baridas - combined with giros.

We didn't really repeat the "side-step > sandwich > sweep" exercise from the previous week, which is a shame, but that's something I can work on.

We did baridas in giros, from the backstep, and then on the frontstep - the frontstep is much more difficult. We also linked in some base patterns we'd learnt earlier, and were shown how these patterns could work with a Barida.

Overall, I thought the class was great - both Kicca and Keiji were back on form, compared to the problems with last week's session - they worked well together, the class clearly had structure and goals, and most of us got there. Even numbers, so everyone danced all the time. We changed partners every 10-15 minutes, and fortunately I didn't get "ocho-on-steroids" woman at all ( to Woger for taking her )

I've got a lot of stuff to practise of course, but at least I know what I need to focus my practising on. I even invented a step (front giro step, followed by a barida-flick straight into a back ocho. OK, fair enough, the step was immediately pronounced "horrible" by Keiji, for several reasons, but it was fun

Incidentally, I discovered my "weak side" - I'm truly poor at leading giros anti-clockwise, my right shoulder seems to be getting in the way all the time Still, at least I know where I've been going wrong with those, and I guess that's something I need to work on.

[JonD]

Originally Posted by DJ

I even invented a step

Kudos! I've invented some imaginative trips but never a step! Brilliant.

Julie and I did the "Technical Rehearsal" for this demonstration last night. It was just lighting, music and that stuff but we still danced through it 3 times. I was incredibly nervous for the first one - it really surprised me - and so was Julie. There was nobody there apart from the Director and some technical bods, plus a flamenco dancer who'd been doing her rehearsal before us. (She was tremendous, that was probably one reason for my nerves). We made a few errors in the routine each time but managed to fudge our way through them. The Director's main concern was teaching me to bow correctly - all I wanted to do was run away! Still, the proof of the pudding will be tonight. Eeek!

I went along to the "Level 2" class in Exeter on Tuesday. Ruth did a musicality class where she asked us leaders to keep it as simple as possible and encouraged the followers to try and "flavour" the dance with their interpretation of the music - using adornments, suggesting changes of tempo, taking time, altering their "mood" (playful, romantic etc.). She played Tangos in different styles and we got about 3 attempts at each Tango with the same partner. Then she changed the music and we changed partner. I found it really difficult to keep it simple and to sense when my follower wanted to "play". I can do it with Julie but I've been dancing with her a long time - I think I was trying too hard to lead positively as the followers aren't that experienced. The followers found it pretty tricky as well but that was to be expected as it was a new concept. All in all, a fun and thought provoking class.

One thing I did notice was that the followers don't really have any concept of frame or tension. I mentioned it to Ruth at the end of the class and asked her how to deal with it - she advised just leading strongly from my centre and not worrying about the fact that the follower's right arm was moving around a lot (either stretching my left arm out almost straight or folding back beyond the follower's shoulder). Ruth called it the "dreaded open arm" and it's something she hasn't worked on with them yet - it's something I'll have to work on as well because my frame is obviously moving if their arms are. The one thing you can guarantee is that nobody could lead those ladies with their arms!

[JonD]

We did the demonstration last night. It went OK and we got a huge round of applause and some lovely comments afterwards. The Director got it wrong and put our music on before we were even at the curtain to enter stage left! We started about a bar late, had to freestyle our way into the first figure, then I realised that we were in the wrong place on the stage and so we freestyled ourselves into the right place in time for the next major figure. Not a great start but nobody noticed and it went fine from there. There was one point where I suddenly became really nervous but I just focussed on my connection with Julie and it passed. The floor was terrible - sort of lino stuff with the occasional ruck where seams joined - which made turning quite difficult.

I don't think I'll ever be doing another one. I was a bit nervous before hand but there was no "buzz", I didn't enjoy the performance particularly and I didn't get a "high" afterwards so the stage obviously holds no appeal for me. I'll just concentrate on learning to dance and leave the "fantasy Tango" stuff for those with a desire to perform and the skills to do it well.

I'm glad it's over! No video I'm afraid - there wasn't anyone there to do it for us and nobody filmed the whole show.

[Clive Long]

Jon,

Well done for all the preparation and coping with the technical hitches. You probably have the right personal attributes and attitude to be an excellent performer.

Clive

[CeeCee]

Happiness is… the search for the perfect Tango class.

Now the Storm is over, we’re back and concentrating on the serious stuff.

A fellow Tango aficionado has advised me to quit flitting about and pick a class to attend regularly, where he feels I’ll benefit from continuity of teaching. Well, I agree and when I find one that I want to go to every week I will, until then the search continues.

Note to Lynn, as previously discussed, we Londoners are spoilt so as I like you and don’t want to depress you or cause you unhappiness, may I politely suggest that you ignore the next paragraph of this post…

Yesterday afternoon I had a dilemma. I simply couldn’t decide where to Tango last night as I had no less than six venues to choose from. Should I try somewhere new, or somewhere familiar, somewhere recommended or never heard of, stay local or drive across town? I sought the counsel of the Forum’s Wise Tanguero who expertly and sensibly after a process of elimination helped me make my choice Thanks DJ x

The class of eight women and three (frightened looking) men began with fifteen minutes of walking exercises to fast paced Tango Vals music. This included stepping forward forward side, back back side, clockwise at speed to an entire track. Why did we do this? I’ve no idea. Not a word was uttered we went through the motions as if performing a military exercise. I suppressed the urge to laugh and enjoyed the aerobic, cardiovascular aspect of the session.

The instructor had an endearing teaching quality which involved random changes of direction and speed, backwards, forwards, sideways and diagonally, with no warning, no warning at all. Believe me the music was fast, consequently, there was considerable tripping over and bumping into each other, providing a comical element to the learning process and far from confidence building. Good grief!

After what felt like an eternity spent on the basic 8 with and without the cross, we were told that the lady has to know when to cross or she will be in the wrong place and she will make the routine hard for the man. The last couple of minutes (!) he introduced the ocho. Without reference to leading, following, tension, connection, balance or position, the guys had one chance to lead it down the hall and I can only assume that less body and arm movement would be required to control a combine harvester. What a negative way to end a lesson.

For the ladies, there was a lot of, standing around, waiting and chatting, when I discovered that a few of the women go there because they believe he is the only Tango teacher in London.

The lesson ended.
I felt cheated.
I still needed my Tango fix so there was nothing for it but to go to another class. En route I sang along to Breathe by Kate Bush. We can tango to that right? (Apologies to the Forumite who phoned me but I couldn’t chat as I was racing between venues.)

I was back on familiar territory, Fed's quirky sense of humour, class of thirty, great atmosphere, keen students, smiling leaders, exercises explained, technique discussed, ladies taking turns to lead and follow, so no standing around, no waiting.

Originally posted by El Señor Long
asked if I had the correct shoes

(The shoes come up again later).

He says you can't learn Tango without suede under your feet (the shoes again, the shoes).

The group was separated into beginners and intermediates - in fact those with suede soles and those without, the Big F declared (shoes, shoes, shoes).

In honour of CL I purposely chose not to wear my newly purchased, suede soled Tango shoes. Disappointingly, Fed didn’t do his shoe speech once, not once. That was weird because he’s always done the shoe speech before.

Anyway, back to the lesson, I still don’t see what the fuss is about. I’ve had numerous warnings about his teaching. From what I’ve experienced in my quest for perfection he doesn’t teach more moves or less technique than the other teachers I’ve tried so he still gets my vote.





Sueño el Tango
I didn’t choose Tango, Tango chose me
The journey continues…

[David Bailey]

Originally Posted by CeeCee

For the ladies, there was a lot of, standing around, waiting and chatting, when I discovered that a few of the women go there because they believe he is the only Tango teacher in London.

- I agree with the teacher who told us there seem to be more tango teachers than students in london...

to CeeCee for trying all these venues, you are clearly the London Tango Venue Guru now

[philsmove]

Two Tango class in one night

Originally Posted by CeeCee

The class of eight women and three (frightened looking) men began with fifteen minutes of walking exercises to fast paced Tango Vals music. This included stepping forward forward side, back back side, clockwise at speed to an entire track. Why did we do this? I’ve no idea. Not a word was uttered we went through the motions as if performing a military exercise. I suppressed the urge to laugh and enjoyed the aerobic, cardiovascular aspect of the session.

]

Some sort of walking exercised is fairly common at the start of most of the classes I attend but 15 min seems excessive

Recently Caesar got us to form a circle and then palm to palm, walk in round in time to the music changing direction at his prompt

[Lynn]

Originally Posted by CeeCee

Note to Lynn, as previously discussed, we Londoners are spoilt so as I like you and don’t want to depress you or cause you unhappiness, may I politely suggest that you ignore the next paragraph of this post…

OK, that's it. I'm relocating.
(Nice to talk Tango shoes with you at Storm! )

[Lory]

Originally Posted by philsmove

Two Tango class in one night

And that's after being at Storm for the weekend

I'm beginning to wonder is CeeCee's human?

[David Bailey]

Originally Posted by Lory

I'm beginning to wonder is CeeCee's human?

That's nothing - I heard she single-handedly parked all the cars, demo'd all the lessons, cooked all the food, and drank all the water at the weekend.

I'm not sure about the last one, however, that sounds a little far-fetched to me.

[CeeCee]

Originally posted by Lynn
OK, that's it. I'm relocating.

It’s only a matter of time…

originally posted by philsmove
Two Tango class in one night

originally posted by Lory
And that's after being at Storm for the weekend

I'm beginning to wonder is CeeCee's human?

originally posted by DJ
That's nothing - I heard she single-handedly parked all the cars, demo'd all the lessons, cooked all the food, and drank all the water at the weekend.

I'm not sure about the last one, however, that sounds a little far-fetched to me.

Ha ha, now I know I’m in the right company. No suggestion that I might be crazy and out of control, you guys respect me for it. Why? I guess cos we share the same passion.

Thank you, I'm flattered but the explanation is really quite simple, I’m a lady in love with the mystery of Tango. As I said to a forumite this morning, this is going to be a long journey and there are choices to be made, sit down along the way and admire the view (much like the students in the first class last night, going nowhere, fast) or keep travelling.

There is much to discover and so little time.






Sueño el Tango
I didn’t choose Tango, Tango chose me
The journey continues…

[LMC]

5th lesson

Kicca and demo (whose name I forget) are everything that Weginald and the Repped One say - fantastic class. Kicca talking about the embrace just made me want to go and demand a hug from the nearest random man (I didn't) -

It won't surprise regular readers to hear that we did lots of walking. Lots and lots and lots of walking. It were great. I learned that if I focus, my standing posture is actually quite good. Unfortunately it all goes t*ts up when I start moving, and since dancing involves moving*, I have a lot of work to do on my posture, frame, connection, balance, weight transfer, "centre" and a whole bunch of other stuff which would make this list even more far too long than it is already. I knew that I need to work on all that, but a few things "clicked" into place for how I can make those improvements happen. Until then, I'd had lots of good advice, but somehow was frustrated at my own inability to implement it. Now I feel like I can move forward.

*shameless attempt to win Best Statement of the Obvious award at the BFG

As I was still tired last night, my frame and connection were sloppy. But my awareness has improved no end - so there's hope.

And we did crosses. Yes, a cross can be led, we've been there (although we have a long way to go until that discussion reaches the lofty status of First Move footwork)

Fun bit of the evening: there we all were, walking round in the embrace and my current partner and I were 'corrected' by Kicca. One turn round the room, Kicca's demo came and told us to relax. "Don't think about it", he said. Discussion ensued between the two of us... keep the connection and frame, shoulders down and neck relaxed, maintain the distance - but don't think about it. Watch the lead's chest, make sure you keep your weight on the balls of your feet, don't lean, straighten your leg when you step - but don't think about it. Stay on the beat, don't bounce, keep your feet in contact with the floor - but don't think about it. "What did the Romans ever do for us?" asked my partner - broke me up

I asked Kicca when the next Monday night 'course' (that DJ and CRL did) would start and if there were still places, and she said I could turn up any time - well, on a Monday, obviously. So I shall switch to those immediately (well, next Monday). These Tuesday night basics classes are good, but as they do something different every week, I've not really been getting a sense of 'progression', although my dancing overall has, I believe (hope) improved.

Lynn - "thank you for the music"

[timbp]

Lesson 6

Very similar to last week's lesson, as we're still working on the giro. Started with walking, then a bit of time to practise the patterns we've covered, then revision of the giro, then just keep practising. With interruptions when Peter had something to say to the class.

This week Peter talked mostly about connection -- how the lead is transmitted through the connection which comes from the frame; how this won't work if either partner doesn't maintain good frame; good frame depends on good posture and balance. He then said we'll probably find it easier to dance (or connect) when we try close embrace; they teach in open embrace because it helps each partner to learn to maintain their own balance and posture.

Women were advised not to try to "help" the guys. Following should be like meditation, just live in that one moment, don't try to predict the future; even if you know the guy is trying to lead a particular step, do what he leads, not what you know he's trying to lead.
Peter said the woman must focus on the man's centre and follow it, not look at the other guys she wants to dance with. Clare (the female teacher/demonstrator) said the woman must focus on her partner's centre and follow it, but she can look at anyone she likes.

At one point Peter was demonstrating dancing with Clare and talking about how she has no idea what's coming next. Then he stopped, and stepped out of the embrace and started pointing out how Clare had her weight over her left foot, her right foot extended behind her, hips facing in the direction she had been moving, shoulders facing almost 90 degrees to the right because that's where Peter had been and she was trying to keep her centre oriented to his, arms in the embrace position. This probably took a minute, maybe more, and Clare never moved. Then Peter stepped back into the embrace and continued the movement.

Originally Posted by LMC

Until then, I'd had lots of good advice, but somehow was frustrated at my own inability to implement it. Now I feel like I can move forward.

But the women tend to spend more time moving backwards -- perhaps you should work on that more

Originally Posted by LMC

And we did crosses. Yes, a cross can be led, we've been there (although we have a long way to go until that discussion reaches the lofty status of First Move footwork)

I didn't really feel I was leading the cross tonight. Maybe the girls were just doing it, or maybe I was leading it without thinking about it (I wish). At one stage when I was dancing with Clare I felt a bit of back lead coming into the cross (she rotated my shoulders, as she stepped), so I'm pretty sure I was not really leading it.

Originally Posted by LMC

"Don't think about it", he said.
keep the connection and frame, shoulders down and neck relaxed, maintain the distance - but don't think about it. Watch the lead's chest, make sure you keep your weight on the balls of your feet, don't lean,

Great advice. I sort of discovered it for myself tonight. One problem I've had over the previous weeks is looking down. I've been aware of it, but unable to stop myself doing it. I know looking down is a typical beginners' trap, and it's one of the few things I'll mention to beginners during freestyle ceroc, but I couldn't stop doing it.

At one point when we were practising, Peter stopped the class and told all the guys to look out around the floor, not into their partner's eyes or at her forehead or "down". We started again, and 30 seconds later he told me individually to stop looking down.
Several minutes later I finally got my resolution together. I knew I knew where I had to step, so I made a deliberate effort to forget about my feet, forget about my partner's feet, forget everything except where I want my partner to move, look out the window, and lead my partner in a circle around me. And it was the best giro I had led all night.

Most relevant (I think) is that once I stopped looking at my partner I had only the physical connection (frame) to know where she was. And I was more aware through the connection; I wasn't trying to guess by the angle of the chest/shoulders which foot she was on -- I knew because I could feel it.

Originally Posted by LMC

straighten your leg when you step

I don't think our class has been told this.

Originally Posted by LMC

Stay on the beat

We're not up to that. I am now making an effort to dance to the music, but I think the teachers don't mind -- they want us to get the technique and steps, then we can put it to music. (Or maybe I'm projecting. My attitude at present is to learn how to do the dance, then put it to music.)

Originally Posted by LMC

keep your feet in contact with the floor

this may be a matter of definition, but I've been told "skim" the floor. I don't think of that as contact; I think of it as being as close as possible without contact. Of course, the important message is don't pick up your feet.


Peter goes to Buenos Aires on Saturday for 5 weeks (his partner Lisa is already there), so the last two classes of the beginners' course will be run by Clare. Then there's a couple of weeks without classes (I might check out the funky tango classes), before the new courses start after Easter.

[philsmove]

Originally Posted by LMC

5th lesson

Stay on the beat,:

I think this has been suggested before but playing Tango before or on the way to the class, certainly helps get me in Tango mode

[Lynn]

Originally Posted by philsmove

I think this has been suggested before but playing Tango before or on the way to the class, certainly helps get me in Tango mode

Or listening to tango music obsessively while driving, working...

[JonD]

I went along to the beginner and "level 2" classes in Exeter last night. I really enjoyed it after a conducting a very difficult appraisal at work followed by a visit to the dentist - I know how to organise my life!

Ruth taught the beginners the Salida last night - the first time I've ever known her to use it. Having read all the comments about it on this thread I watched with a great deal of interest. I'm pleased to say that she stressed several times that it's a figure that is useful for teaching but doesn't get danced in it's entirety very often and she stressed that there is a lead for the cross! We did an interesting and rather difficult exercise; you know how the Salida tends to draw the couple over to the left because you walk outside to the left, well we started in the near left-hand corner of the floor and had to try and lead it so we arrived in the far right-hand corner. Tricky! She was also getting us to think about how the 8 beat pattern fitted into the music. I enjoyed myself, spending the first half of the class leading Henry, Ruth's partner, who wanted to improve his following and then dancing with a few beginner ladies.

The Level 2 class was great. Last week we worked on musicality - particularly how the follower can "flavour" the dance by suggesting movements to the leader and using simple adornments. We started this week with the followers just dancing on their own with their eyes shut while the leaders "protected their space" (no physical contact but make sure your follower doesn't collide with anything.). Then we did the same thing with the same follower but this time keeping fingertip contact with her hands - not leading but just trying to stay connected while also protecting the follower). Then we danced with the same follower and tried to lead the kind of movements she'd made on her own - one lady seemed to like fast little "clever" steps, reversing ochos and such like while the other one I danced with loved pivots and sweeping turns. It was great fun and very interesting. After that we did some fast pivot turns from walking on parallel and opposite feet, the cross and also from ochos - almost leading boleos. I found all of these really difficult. Ruth wanted us to lead the pivot just as the follower was about to transfer her weight onto her working leg - so, in a walk, with her leg extended back and toe just touching the floor. Getting the timing was really tricky. In the end I stopped thinking about it and just tried to sense the right moment. Once I "used the force" things got a lot better. They are lovely, fairly simple movements but the execution, like so much in AT, requires precision and balance and technique. I love it! Things are made a little trickier because the ladies in the class haven't been dancing very long (there seems to be a tendency to take really small steps as if they aren't really sure where they should be going) but I'm learning an enormous amount.

Tim and LMC's posts about their classes ring so true with me. There seem to be so many things not to think about! I remember being "deconstructed" by Nahuel during my first private lesson in Buenos Aires - "Jon, step onto a straight leg .... Jon, keep your foot just brushing the floor ..... Jon, in AT you only have one leg bent at a time - one straight, one bent ........" It seemed never ending and was quite depressing (he barely said a word to Julie - the swine). There's so much that needs to become instinctive and I guess that's why we have to "walk our miles".

As for staying on the beat - well, you don't really have to. That's one of the joys. You can dance to the melody or a particular instrument or the beat or any combination. If you're walking on the beat the pivot things I was talking about tend to happen on the off-beat - you lead them between two steps (I knew there was another reason why I found them difficult).