Ah, yes – it had to happen. Ⅰ am now finally engaged (a.k.a. helping out) our latin formation – and thus Ⅰ need to learn some styling – for example the „shoulder shake“ – or „shimmie“. There is some really good hints at the Dance Forums:

If you’d like, first stand with your arms down and way relaxed, kind of feeling the arms being pulled down by gravity. Then shake the rib cage, remember to concentrate on the ribcage and leave the shoulders totally relaxed. You’ll see them move, it takes time for the few of us who are a bit stiffer, but with practice it becomes a lot easier and you’ll soon look like a natural shaker. If you concentrate on moving the shoulders you’ll prevent the muscles from relaxing, hence making it more difficult to move the shoulders at first.

Ⅰ will try to collect some hints, rules and statements Ⅰ believe are important for followers; at least Ⅰ will cover things that Ⅰ appreciate and seek in a good follower.

On good communication

These ideas are not about technique, they are not about style. These are the foundations we will need if we both want to have enjoyable dances. No matter which level we both are at.

Relax and do not think.

Do not try to think what Ⅰ might have just lead or might want from you. If my lead is clear – do the step. If it is not do not do anything. This way Ⅰ will adapt my lead and my vocabulary to a set we both can enjoy. This way we both will leave the floor with a better feeling, with a feeling of a dance that was enjoyable. Otherwise Ⅰ will be annoyed by a follower who does „things on their own“ and you will be irritated by unclear leads that put your mind at unease. Relax and do not think.

Do what you do.

Taking in mind the previous statement Ⅰ require you to do what you feel you have been lead into. The steps come naturally when the elad is clear, so do not resist them because you are unsure if they are right. When you change weight, do so in time and fully. Do not hold back, fully commit to whatever you do. If there is a miscommunication, do not worry about it, Ⅰ will adapt to it. It is my job to do so. It is yours to present me with constance, reliability so Ⅰ can do mine.

Do not go into „Robot Mode“

Yes, you might have learned steps and figures, sequences of steps and figures. But you cannot expect Ⅰ will lead them the same way, the same order. Just focus on the moment and the step that is. Not the step that was or the one that will be. Also do not do automatic steps. Watch for your automatisms and get rid of them. Do not „auto-cross“, do not do „hammer-crosses“, where you ram that leg into the cross no matter what the music and my lead is saying. Do not do steps in double speed „just because“. Please listen for my lead and do just that.

Adornos and Embellishments

When you are experienced enough (and fast enough) do small adornos, but never adornos that disturb the flow of movement, that disturb my possibilities for new leads. If you can do so and it fits the music, please go on. If you need time for a special adorno, signal me, show me you need time, you will get it, you will get any time you need. But be prepared to signal me with your body, and listen to my signals that there is time.

Anticipation

Do not anticipate movements or directions. Close your feet, do not lock your feet into a position that takes away half the possibilities for movement. You will be faster as well as more open to anything. There will be reverses of direction that you will never be able to anticipate – and you are taking away so many possibilities if you do so.

Oleh posted an article on Jan 28th about Brigitta Winkler’s mention of the „real“ steps in tango:

She introduced the idea that there are only 3 steps in Tango (and all 3 can be considered basic). These are: open, cross forward, and cross back.

Ⅰ am a bit surprised. Not because the idea is so simple and so correct. (Although there are even deeper implications to this way of thinking/dancing than can be discussed here). Mostly because Ⅰ have heard and read about this approach in Mauricio Castro’s Tango Discovery – or better in his book ‚Tango Doscovery – The Matrix‘ who basically published a book talking about nothing else than all possible combinations of these three basic steps (+ no step). A combinatorial masterpiece, but not really a practical approach – nothing is taken away from you, it still is up to you to examine and explore the ideas with a partner. Mauricio is also really commercializing this stuff, it sounds just like he has grasped that in addition to being quite analytical he can also benefit from a good marketing backing him. Nevertheless good work.

Just wondering now: where did this all start? Who was the first „Tango scientist“?

Alexia Schulz is hosting a great set of Notes on Tango dancing, concerning technique, posture, lead/follow. Very well written (although no textbook, yet?!) – Ⅰ suppose there will be something for everybody!

(and also check out her home page)

Update 2005–03–31: After reading more in these notes Ⅰ realized the notes are actually written by Gary Diggs – just hosted at Alexia Schulz’s page. Nevertheless great to read, many useful exercises as well as hints and reminders.