Tango Posture Imagery

I've found fantastic imagery applicable to Tango.

Notice the differences between the five posture types represented here, White, Blue, Red, Green Yellow.

For the purposes of tango my preference is the posture represented on this link by the red figures...if I had a tail it would point back, but not up (do not cause yourself pain or injury).  My hat would resemble a baseball cap. My eyes would look straight forward.

The white isn't bad it's just that the red is ideal for leading of following tango (notice that the white figure represents the standing leg being straight rather than slightly bent...bent is good for balance and grounding in tango).

The link is Here

Drill That Will Improve Your Tango (For Leaders and Followers)

On a floor that will allow pivoting put down a large X with tape (the X should be about two meters square).

Put a small staight backed chair on the X, centered, with one leg of the chair on each of the lines of the X (you may have to adjust the tape to ensure that each of the legs of the chair are on a line).

Imagine a circle around the chair about one foot from the legs of the chair.

Start the music.

Now do Giros around the chair keeping your shoulders facing the chair at all times and stepping only on the tape X (at the places where it would intersect with an imaginary circle a few inches out side of the chair) Keep your chin up (don't tilt your head toward the floor) Remember that both shoulders MUST face the chair squarely at ALL times (pivot your hips only), and you must step only on the tape.

Occasionally change the direction of the turns only after a front step or back step by pivoting and doing two front  or back steps one after the other. (circular front, or back ochos)

For some people it may help to do front steps at the front of the chair, side steps at the sides of the chair, and back steps at the back of the chair. (This will help ingrain the Front, Side, Back, Side Front...norm for doing turns)

You must do hundreds and hundreds of molientes alone to get them to work without effort so you might as well get started.

One Degree of Flexibility

The human knee joint has one degree of flexibility, that is to say that it only bends in one direction (straight back from the way that the foot is pointed).  It does not rotate without injury (ask my "ski knee").

This is the reason that I advocate keeping your feet parallel with each other and with the direction of travel (in a line or curve) during the tango walk as if you were walking with skis strapped to your feet) it is also important that the steps be straight back or forward, as if you were stepping on the tracks made by two such skis...or on two small railroad tracks running beside each other (this idea works better than the ski track analogy when you think of the tracks during a turn)(pivot completely to achieve this) (in other words one should never cross their own center when walking even in a turn) , as opposed to stepping back or forward onto one such track as if stepping on  a balance beam.  Consider this... if your foot is turned out and you place weight on the ball of your foot (as followers should do initially while transferring weight to the extended leg during a back step) the axis of your body is now at the outside of the leg rather than the inside because of the turnout.

There is a lot of talk about use of  "Natural Foot Turnout". This technique sends a conflicting signal to the brain because the foot is pointed in a different direction than the line of travel (this applies to followers as well as leaders).  It also sends  improper feedback to the leader as to the direction that your knee will bend and the direction that your body wants to go naturally (without using extra muscles to achieve the walk).  Ones foot should always be pointed in the expected, or the led direction of travel (don't worry followers navigation is the responsibility of the leader and he will correct it with a pivot if needed but that's one more thing for him to think about
...if you catch my drift) (read as... I have enough to think about without having to steer a shopping cart with a wobbly wheel) .

Try this exercise:
Take a back step using "Foot Turnout" (if the feet were side by side they would form a "\/") transfer your weight to the extended foot completely (do not hold a twist in your core or hip) and then bring the feet side by side and completely relax your body...chances are (if you followed the directions for the exercise) you will end up facing in a new direction (the same direction that the weighted foot is pointed).
Now try the same back step keeping the feet parallel and pointed with the direction of travel (||) (you will remain with the direction of travel when the feet are together).

Another exercise:
Stand with the feet completely parallel to each other... place weight completely on one leg and bend the unweighted leg at the knee...It will point straight behind you.
Now stand with feet together heels touching and let the feet form a "\/" (foot turnout),  When you bend the unweighted leg at the knee it will not point straight back, but rather...it will point across your center line (a little extra weight  to counteract against in you struggle to maintain your axis) Can you feel the bend in you spine that this creates?

One more:
Stand with heels together and exaggerate turnout (make the angle maybe 120 degrees or more), now put all of your weight on the ball of one foot (keeping the heels together), transfer all of your weight to the ball of the free leg and notice how far that your center must move to accomplish the transfer.  Now try the same thing with no turnout,  this will require far less movement of your center to achieve the same weight transfer (believe me, this is a good thing).

 Leaders may (and should) use this principle to navigate, by positioning their feet in the intended direction of their next move or perpendicular to the intended direction of the follower (in the case of a side step...they should also preposition their feet if necessary to present the back of the knee in a certain orientation (think ganchos, liner boleos, back boleos, leg wraps, etc...).   I personally use prepositioning to the maximum extent possible and only pivot on my own axis when necessary, or for effect.(planeos, needles, enrrosques,changes of directions...etc...).   As a side note I will use a lead for pivot to the follower, she must continue to pivot as long as the lead to pivot is still being given by the leader (thus making over rotation possible), and complete the pivot before the moving leg passes the weighted leg (because when the moving leg passes the weighted leg the pivot stops...) Try it.

Feel free to express your own point of view with a comment.

Foot Technique for Followers

I recently visited a practica in a small community where at least half of the followers present were dancing with weight on the balls of their feet exclusively (never using their heels at all). I'm not sure if this was due to someone teaching this poor technique or if they had just picked up the habit and the instructor/s there hadn't noticed. Many of these followers were dancing in flats (I assume this was because they were thinking that the heels were causing them foot pain and wanted some relief during the practica). The shoes are bad enough (I don't see how followers wear them at all) but they have heels for a reason: the heels are meant to be used to help support your weight while walking backwards by helping you maintain your balance and axis (thus taking maybe forty percent of the pressure off of the delicate metatarsals of the supporting foot).

Here is an exercise that everyone should try in order to demonstrate why this is such a bad practice: Stand naturally with your feet together and shift your weight forward so that your weight is totally on the balls of the feet, transfer weight to one side so that your weight is totally on the ball of one foot...now extend the free leg back as if you are going to take a back step without transferring any weight to the free leg without using the heel, now try a forward extension without transfering any weight (I think that almost everyone will have real difficulty doing this). Now bring the feet together and shift your weight back so that your weight is evenly distributed along the entire length of one foot from heel to toes, now...once again extend the free leg backwards in preparation for a back step, now try the front extension...Isn't this much easier to accomplish with proper technique?!

Leaders need to be aware of this and bring the followers weight onto the ball of her feet before leading pivots (very easily done, and this will happen without much conscious thought after the technique is practiced properly for awhile).

One of the followers at this practica has been dancing longer than I have, and I have to say that she danced quite well (although I could tell right away that something was wrong when I danced with her). When I explained my position she told me that her reason for doing this was that she had been caught with her weight back on her heels many times, and she was trying to avoid this by keeping her weight forward. (see the note to leaders above).

I hope this helps someone, does anyone have any thoughts or reactions after trying the demonstration above? I would love to hear from you.

Exercise for Good Tango Posture

This is a great exercise for posture improvement, concentrating on the shoulders (95% of non professional dancers need improvement in this area).




Give it a shot, it's really almost painless. (One of the things Tango dancers notice most about people is their posture, this holds true when deciding who to dance with...just saying).

The goal is too eliminate hyperkyphosis (excessive outward curvature of the spine in the thorax region) this is why I encourage people to open their rib cage upward.

It is also important to keep your head centered "on top of" your axis rather than "in front of",or "behind" your axis.

I do not agree with her idea that the hips should be tucked in! ( for examples of proper posture please search Youtube for videos of the most accomplished tango followers or leaders...i.e. Marina Montes, Geraldine Rojas,...etc...     I believe that the hips should be held back slightly to create a space between partners hips and feet and allow for a bent standing leg rather than locked knees and no room at the hips and below (please notice that the hips should be held back slightly, this does not imply any bending at the waist, rather it allows for and accentuates the natural curve of the spine.




For more on posture see
Tango Posture Imagery

and Movement Invites Movement (blog)

Learning Involves Change (Don't Settle for Mediocrity)

During the last six months I have been trying out a new way of walking and I have made a few adjustments to my posture, embrace, and body alignment (more estilo salon, less estilo nuevo, less estilo milonguero), when I started this study of tango I was convinced that the "milonguero" style was the only way that I wanted to dance, later I found freedom of expression and more chance for creativity in the "nuevo" style. I still have those tools in my toy box and will (and do) take them out if the mood strikes me. This is nothing new, I've changed these things constantly over the past seven years all in the name of educating my self and building depth into my Tango, and I've watched as people who were far more experienced than I was have stagnated in their dance to the point where it seems to me that they have not improved at all (these were people I once held in high regard as excellent dancers). I've also witnessed people who started about the same time as I did stop progressing when they settled for one thing or another. How boring it must be to not grow over that many years!

It's impossible to learn anything new if you have already decided that what you are doing is the best, and/or only way. (I've heard it said that you can't add water to a glass that is already full, I like to think of it as getting a bigger bucket to hold several glasses of water). I also feel that adding something new allows a person to focus on the new things and allow the things you have learned in the past to happen automatically without thinking about them. Nature rewards adaptation.

The results of these adjustments are beginning to become second nature and have drastically improved how grounded I feel to myself and the women I dance with often, as well as an improvement in the clarity of my lead to my followers. I also feel that this new style has allowed for more possibility of musical expression for the follower (less about my Tango and more about our Tango). The new style does require the follower to use proper technique (no lazy following) and therefore makes leading easier after the technique becomes second nature to the leader.

One thing that I have noticed over the past maybe three years is that I have not hit any plateaus, just a slow but steady improvement...Where's the Like Button!

A Different Approach to Learning

A few years ago a friend of mine (Just someone I used to dance with, not an instructor) commented that by learning open embrace I could fix a problem I was working on at the time with my posture and balance, guess what, it worked.
Everything I know about dancing close embrace I learned from dancing open embrace.
Everything I know about dancing open embrace I learned from dancing close embrace.
Everything I know about improvising I learned through patterns and emulating others.
Everything I know about dancing fast I learn by dancing slowly (very slowly).

On a different note,I watched a video produced by a very famous pair of brothers (the Maers) many years ago about learning to downhill ski, they had an interesting teaching technique. Basically because sking (and Tango) is an engramic activity (your brain learns to do it eventually without much conscience thought) it is very difficult to explain how it should feel, they thought it was a good idea to purposely do something "the wrong way" so that your body could learn by comparison what doing it the right way feels like (very easy vs. very hard, natural vs. unnatural, smooth vs. jerky, balanced vs.wobbly)

I have found this to be a very effective learning/teaching method.

Following (note to self)

(These are notes to myself and will require some experimentation through trail and error)

I danced with several awesome followers this weekend and I am trying to analyze what it was that made those dancers so Delicious while the memory of them is still in my mind!

When following transfer weight smoothly rolling from toe to heel (when walking backwards)inside of foot to center of foot (when doing side steps) heel to toe (when walking forward)try to keep the foot almost horizontal right before landing when taking front or backward steps.

Try and feel the length of stride that your leader is intending, if he is going to do a traspie or syncopa step it will be shorter due to the amount of time it takes to make the step. Better to be a little bit longer than he intended than too short, this will murder the leaders back after one song because he cannot keep his own axis and must also keep you from tripping over yourself.

Always remain grounded, never fall into the step.

Don't take too long of a step or you will not feel grounded at all to your leader and you my hurt someone that you are unaware of, that the leader is aware of.

Don't block your leader on the open side by keeping your arm too stiff, this is gentle embrace, Not an inflexible frame.

Stiff tight legs are hard and nasty and don't feel good to dance with, and will block a lot of possibilities. Relaxed legs are soft and feel wonderful to dance with and they will react to the lead in the way that the leader intends.

Better to be a little behind the beat than ahead of the beat.

Keep a good spiral in the body by remaining relaxed everywhere, feel your core muscles stretching rather than tightening.

Keep your own axis unless the leader takes you off of it by stretching or compressing the embrace, at that point use these counter acting forces to maintain an equilibrium these forces when applied must balance each other out or the whole thing will go off axis, it would be very embarrassing to fall over (trust your leader and make sure that he can trust you not to apply more force than is given) your leader is not there to help you keep your balance unless he takes you off of it nor are you there to help him keep his.

When taking a step be confident that you are doing what you felt (you probably are) and make a good quality step, getting your weight at least over your hip joint, if it feels as if the leader is trying to dance the Phrase, go with it smoothly, a jerky stuttering step is usually not what we are going for.

(If anyone sees something that is completely wrong with the things I have written please let me know so that I don't get too far in the wrong direction)

Tango Epiphanies 5

Too much vino may have an adverse effect on you tango. (Duh!)

Walking Technique for Leaders

I know this guy that lands, and teaches students to land (with weight) on his/their little toe while walking forward, because it "looks better".

He has chronic problems with his ankles (hard to figure out the reason).

In my opinion a leader should only think about relaxing his ankle and the only ones that will know the difference are him, and his orthopaedic surgeon.

Best Tango Workshop So Far!

Today I attended a last minute workshop from one of my favorite instructors, Nick Jones, along with his current partner from Denver, Amy Anderson. I say last minute because it only came about last Monday when Nick called Scott and let him know that they were going to be in town for a demonstration, and wanted to know if they were up for a workshop.

Nicks classes are always fantastic, this one was out of this world. during the class he never showed us one step, or pattern and basically assumed that everyone there had proper technique (except that they did point out that without proper posture and balance none of what they taught would be easy and they said that if something isn't easy you weren't doing it right).

The classes had to do with leading through disassociation, for almost the entire day all of the leading was done with absolutely no contact between the leaders and the followers. Toward the end of the class it was almost effortless I've been thinking about this principle since the first time I saw a video by Murat and Michele, here (there was another video that was better, but it is no longer on youtube).

Anyhow, if you ever get a chance to experience a class with Nick teaching do it, his style of teaching is so relaxed and easy, fun and dynamic, like I've said before he makes what seems impossible seem easy.

Things I've Learned During This Last Tango Year

Here is a short list of concepts and other "gems" that I've learned about tango during the last year:

1. Down and around, it's the feeling that your followers are wanting to feel!
2. The embrace is a flexible thing, the connection is not.(connection can occur in many different parts of the body from the torso down to the feet, maintain connections like these as long as you can until they are no longer offered.(as an example the ankles and feet during sweeps or leg lifts))
3. Axis, understand what is happening(where is the axis hers/yours/ours) during every second of the dance. Your head should remain over your own axis. Your nose should never point toward the floor.
4. Never rush the lead, in other words, give her the indication of what you want then follow her.
5. Give her enough time to follow the lead and still keep the musicality that you are looking for.
6. Never push or pull your partner off balance.
7. Always step onto an balanced foot. Weight transfer is gradual from one foot to the other and may be stopped at any point(see #10) or changed so that all of the followers weight is on either foot while the other leg remains where it was and unweighted
8. Preposition your feet to get more disassociation, when you need it, and to get your feet out of the way of your follower.
9. Look at your partner!(their axis) It's an extra level of connection, It also makes some things that seem impossible to do at first almost effortless! (this also increases torque and disassociation for pivots/boleos).
10. Followers should stop when the lead stops.(don't "finish" what the leader starts unless it is clear that this is what is wanted.)
11. Keep steps fairly short (as opposed to covering lots of ground) to remain grounded.
12. Give yourself to your partner.
13. Keep a connection with the floor, as well as your partner (remain grounded).
14. Transfer the followers weight gradually from one foot to the other.
15. The followers unweighted leg should remain "free" that is to say it should be behind and amplify what the hips are doing (making boleos possible, linear as well as circular).
16. Have fun and don't worry if things don't go exactly as planed (it's not about you anyway, it's about your partner!)

Relax Your Body, Free Your Soul!

I've been browsing a couple of cool books lately (always thinking of Tango naturally).

1. Conditioning for Dance

(Eric Franklin, published by; Human Kinetics ISBN 0-7360-4156-7) This book is loaded with tons of awesome illustrations that let the reader visualize things that are happening inside of your body when you are dancing (in my case, tango), it also shows many techniques that will improve posture, balance, axis...etc... and, as the title suggests conditioning. (they are trying to sell Thera bands, or at least are highly recommending the product, but I guess that's O.K.).

I got massive amounts of information about things instructors have tried to teach me in workshops etc.. but sometimes I need a picture (they are worth a thousand...).

2. T'ai Chi Classics

(Translated with commentary by Waysun Liao, published by Shambhala Classics
ISBN 978-0-57062-749-1) T'ai Chi interests me very much and some day I will explore it in great detail, but for now I found that the sections on breath control and Tan T'ien seem to be applicable to Tango (imagine that!) Eric Jorenson once made a joke in a workshop I was at about feeling each others "bellies" it really is where you center is,

by the way T'ai Chi roughly translated means "The Ultimate"

I also found the treatise by Master Wu Yu-hsiang very informative.

Yin/Yang, energy, movement, direction, meditation, how much more tango can you get!