Category Archives: Tango walks

Music Exploration – Rhythm, Beat & Embellishments

It is common and at some times good strategy to separate the above during different classes/ practices on music exploration, in order to dedicate the necessary time to each of them. Sometimes they may come together in a musicality class where choreography is used to explore music textures and qualities or to work on the skill of building a choreography.

What I would like to suggest to you is that you see all these elements as ways to explore the music, as ways to make a map of the song so that you can move and express yourself through it with more ease.

Rhythm is all!

Who said that? Yup! that was indeed MJ

Rhythm is a basically a set of relationships based on three criteria:

  • the goal – aka where we are going
  • how far that is and
  • how fast we are going

And the above are affected by the mass that is moving; for example an arm versus the whole body. Also, the surface on which the item is moving, if there is traction or not and more.

As you can see in the video above there are many different ways to explore these relationships, we can count, clap, sing, dance or we can simply spend some time just listening.

And listening starts from within. There is one vital element that most of us, especially when dancing with someone else, tend to forget. And that is our breathing. There is rhythm in our breathing and that rhythm is unique to us, and very much dependent on what we are doing from one moment to the next. Therefore, every music exploration should start internally before we reach outward, as we are doing in the video above.

Lastly, before we go the beat, notice that though in the video we are playing mostly with the arms the feet are participating only they are not main focus. They can of course be the route through which we explore all of these relationships, so I invite you to give it try… it is truly a lot of fun!

And the beat goes on

I learned this exercise a few years ago from the wonderful Sebastian Arce and Mariana Montes. And it has been an exercise that I have been going back to over and over again because it is not only very helpful, fun and challenging but also as an idea, as a music exploration strategy, it is something that you can apply to any and all sequences.

So what happens in this particular video, is that we take a routine that is very well known and broadly used in Tango, in this case the ocho cortado and we start changing the relationship of the steps with the beat.
This is the idea behind the exercise and so now you can understand that you can do the same thing, with the Tango basic/ box step, with the giro step and with any other sequence really.

How does this help us though map out the music?

OK! I want to share a strategy with you here, that again applies to all the things we practice on, but we will stick with the specifics of this exercise to have some solid reference. Suggested practice steps:

  1. Practice each variation separately, one by one with and without the music.
  2. Make little groups of 2 variations to practice on the music. How you choose? Well, there two ways that I usually follow:
    • Group the variation you are the most comfortable with every other, making groups of 2
    • Or group very different variations, for example from our video, the very slow/ mellow version with the syncopated version
  3. Second last step, decide on how many times you would like to do each variation lets say 4 times each. You put the music on and you do each variation 4 times, one after the other until the song is over.
  4. Very last step..! Let all the practice go and dance! What does that mean? You put the music back on and you let the music guide you as to which variation is more appropriate for that moment. As you can understand this is a step that may last for some time.

It is advised that you stick with the same song as you go through the steps above and that you see this as a flexible structure, and not a linear process. Meaning that you can go back and forth between steps, stick with one step for your whole practice one day and the next day you carry on etc. Basically, notice what your needs are as you go through the structure and give permission to yourself to adjust the strategy to your needs.

Embellishments – A music exploration power tool!

In this last video, we are playing with embellishments. Of course what you see in the video are only 3 of the many embellishments you can do on ochos but they have been specifically chosen. They will help us broaden our vocabulary and our understanding of the timing of the ochos, they are great tools for us to express ourselves better and have a bit of fun trying things out on the music but also and most importantly they can help us map out the textures of the music.

Embellishments in particular, because of their nature, they are add ons they are not required, they are one of the greatest tools to capture the textures of the music. Often times the same embellishment can be aggressive and powerful or spicy and playful depending on how you perform it.

So following the same strategy as described above try to see what textures you can capture and express with the 3 embellishments of our video during your music exploration session.

Music is much more than steps on the beat

Closing this short blog post, I hope that you have been inspired to look deeper into what the rhythm and the beat are and how you can explore them but also to look beyond them when you are trying to understand and relate to the music.

Think of the beat as the basic grid for each song. Over that grid we then have multiple layers. Some are consistently in the spotlight and some are making brief appearances with solos or by bridging musical phrases.

It is essential to get a clear understanding of the structure of the song, of the grid and then of the different layers that come over it in order to then be able to fully listen and express the music through your dance. And of course, the fact that we may be able to hear all the different layers doesn’t mean that we will dance to them; it is important though that we are able to hear them while we are dancing.

We have spent a couple of our Tango Movement Labs working on these elements so you can certainly visit the latest videos on that list and of course join us on Wednesday for a live practice. Tango Movement Lab runs every Wednesday 12:15pm EST through Facebook and Youtube

And of course if you don’t want to miss any of the extra goodies that I weekly put out, subscribe to the community of Bautanz

Take care and keep of moving

Chrisa

P.S: For another music posts, click here

Practicing alone-together!

So when I starting practicing alone aka without a partner it was because I could feel that something was missing, that I could be a more active and expressive dancer but I didn’t quite know how to do that.

After some time things settle and I found my ways and Bautanz was born but this is not an article about Bautanz but about one great question I got from a member of our community, Mandy: “Do you have any suggestions for incorporating these ideas [on balance, alignment etc] into a partnership?

Is individual practice the problem?

Mandy explained that though while practicing without her partner everything is great but once they come together to dance things start falling apart.

One of the things, amongst others of course, that causes these off-balance moments is that each partner is working on figuring things out in his/her body and fails to pay attention to what the other person is doing. It is not on purpose that we are ignoring our partner but there are so many other things we need to focus on from one step to the next, that we fail to pay enough attention to our partner.

Many people say point exactly to that in fact to prove that one shouldn’t be practicing alone. That argument however can be defeated when we see soccer players, tennis players, ballerinas you name it training on their own.

Individual practice is not what causes the problem in connection, it is what reveals it! Once you start exploring further a creative process of change starts to happen and that is when start to realize trouble with moving with another person.

Also, as with any change, change in movement habits takes time! For us to realize what we are doing wrong, to explore the suggested other options, to understand how each suits our bodies and then to replace what we don’t need anymore with a new habit; This is a lengthy process, very creative but also lengthy! So it will take some time for things to settle, for new habits to get established so we can then focus more on our connection and how our movement affects our partner.

That is in fact why I created Bautanz and an online course called Intelligent Tango PROGRAMS & COURSES–INTELLIGENT TANGO, to speed the process of creating new habits through an individual practice.

Practicing on how to listen

You are probably wondering if I am actually suggesting that you just keep at it and hope for the best..! haha
Thankfully not, as there is a way to get more connected to your partner and explore movement at the same time and that is through touch, observation and feedback. And that could happen in two ways

Let’s use the above video as an example, if you are not practicing with a partner, during your individual practices you can get feedback from surfaces you can possibly lie down on or lean against. Once on the ground as in the video above you can get bodily feedback on how your head, back, hips and feet are moving on the floor.

You start gathering information on how these body parts move when you move your arms. But also there is the opportunity to observe how your movement changes as you release more weight, or as you turning, if you adjust your head etc.

In this video, all of the above apply of course, but I want to use as an example when you practice with your partner. Aside from the feedback you can gather from meeting the floor you can also ask your partner to place a hand on your shoulders, back, your head or hips, and just observe how you move without affecting your movement, only observing almost like passively following. Touch will reveal to both of you how that specific spot of the body moves and how part affects the other. It will give both you more information about movement that you can then take it with you when you are leading and following. Then of course you change roles, you will be touching and observing 

Time to give feedback…

Last but not least in the process is the exchange of feedback. This is an important part of the process and a rather difficult one. It is very easy to fall into the trap of not expressing how the movement felt. So again using the video above as an example you want to go deeper and describe what your hands felt, for example: “as you were settling in the tabletop position, your shoulder blades felt like they were sliding and turning, as the spine was reorienting. You back muscles felt like they were expanding as your sides and core were condensing.”

Avoid staying on the surface with feedback such as it felt good, or strong or smooth. Try to go a deeper and describe the movement. Make sense out of what your hands felt. Then you try the exercise again focusing on each of the elements your partner noticed and guiding each other through touch. 

Could I do this with Tango drills..?

Absolutely! This process can happen with any movement, only you would probably need to move a bit slower than usual if you are doing walks or ochos. But surely your partner can place their hands on your shoulders, back, chest, stomach, head etc and go through the same process as above.

It will heighten your awareness of your own body and movement but also of your partner’s. Touch is though an excellent way to practice “listening” through touch. Tango is based on touch and the feedback we receive through it. If we are not able to listen through touch and respond then it becomes difficult and the movement has a very mechanical almost robotic quality.

Every practice session needs to be rewarded

Extra bonus… a Dance! I would to encourage you to dance one song after your practice or at a random time without the intention to practice but with the intention to dance and enjoy moving with or without a partner.

It is not however an easy task. You will be putting yourself to the test trying to put all the things “you should be working on” to the side and letting the experience of moving inform your knowing.

I wasn’t doing that for a long time. Instead every chance I got I practiced trying to get things right, trying to get better faster. It was very frustrating, and made my dances really hard to enjoy. So though being in the unknown, without an outline of what needs to be taken care of, of what you need to focus on, can be discomforting, it can also help you understand your body, your movement and your partner at a deeper level.
Plus it is a great reward to allow yourself to dance after spending time practicing!

Touch, observe, listen and don’t fear the unknown!

😉

Chrisa

P.S 3rd week of September we will be starting session of live online classes. If you are interested check it out here: Online Tango Classes- Live

Different Body-Different Style

How can one-size-fits-all apply in a social dance setting when we all unique in terms of body type, age, fitness, cultural background etc?

A great question!

After our mid-week Tango practice on Wednesday I a question via Youtube that I felt it is an excellent question for us to discuss how different body types can or cannot fit in certain Tango rules; and overall how the one-size-fits-all doesn’t quite work in social dancing.

Following is the video, from our practice and the question right after that, lets see:

“Chrisa, something that no one ever talks about, and I can’t get non fat dancers to understand, are the techniques needed by the fat dancer. Now, I do not use fat as a bad word, I reclaim it, and refuse to make it synonymous with wrong. And also, I need to accommodate my roundness. It is so awkward to be in class, and have an instructor remind me not to swing a hip, not to arch my back, when the real reason I do these things is because of my large belly. When you have substantial thighs, it changes your stance, collection, even the ability to flick a swift secada. I realize this is off topic from your video, but do you have any insights for the fat dancer? Tricks to maintain tango posture when you have extra curves to work around? Thank you <3″ F.L

The truth of the Style Vs The truth of the Dancer

I want to thank again our commenter for this question and dissect the matter in two parts:

  1. Diversity of styles
  2. Biomechanics Vs Tango Style

Diversity of Styles

There is an unavoidable conflict between the truth carried through by the rules for each style and the truth stemming from the dancer’s experience. Of course there are many ways to train dancers to perform and look a certain way, many types of dance achieve that, with ballet being one excellent example. However there are certain expectations to be met by all ballerinas in terms of looks, body structure and analogies. This is why there are certain restrictions apply in terms of age, body type, body shape, fitness etc. That is also why the choice to follow a career as a professional ballet dancer happens very early in one’s life when the body and character are very adaptable to change. That is also why ballet dancers retire at a very early age.

Social Tango is not like that though. Quite the contrary it is dance that is danced by 90 year olds with very different body analogies, with loss in muscle etc etc. So would we say for example that Oscar and Nina are bad dancers?!?! I highly doubt it!
See them in this video: https://www.youtube.com/watch?v=YQotX3sFahI

So as I perceive it, a style is a place to start learning but then we have to take into account the the experience of our body. And those two things are equally important and equally true.
Everyone of us is unique in some way, and that uniqueness needs space, a lot of space in a social dance.

Biomechanics Vs Tango Style

We can’t judge a style, a style is based mostly on aesthetics. It is a design. A beautiful design but still a design that one person or a group of people came up with based on their personal goals, experiences, expectations and so on. So it wouldn’t be possible nor fair. But we can judge movement based on anatomy and biomechanics. Then each of us can make an informed decision whether you want to pursuit a specific tango style despite the possible strain or risk due to inconguence with anatomy and biomechanics.

So firstly, based on anatomy and specifically the structure of the human skeleton in order to balance the forces going through the joints and to have an effective distribution of weight when standing on two feet, the placement of the feet should be such to support the hips. Having the feet together 100% doesn’t meet that requirement since the pelvis flairs outward. Similarly, the flair of the feet, meaning the turn out, depends on the structure of your hips, how wide or narrow the hips are.
So overall some people will have their feet closer together, not though fully connected, than others and also for some people the turn out will be bigger than others.

Walking and biomechanics

Now when we walk our hips are not supposed to be square, they are supposed to swing, it’s scientifically what we call: locomotion.
And it is not the only movement happening in our hips when we walk. In fact walking involves the whole body and the more chaotic it feels the more efficient it most likely is.
There is the “C” shape movement we talked about in our practice session and there is also a wave in the spine. You can see all of this here:

Can you stop all this from happening ?
Sure you can! But why would you? If you actually look a little closer and dig a little deeper, these movements actually help you connect with your partner in much more efficient way..!
You can see it in our previous practices here: https://bautanz.com/online-tango-practice/

And of course along with all that goes posture and centre of gravity. Your posture changes depending on what action you wish to perform. As you can see in the video above maintaining a specific upper body position works against your intention to walk forward or backward and would therefore require more muscle work to make it all happen.
Lastly our center of gravity, will be different depending on the shapes we create or have in our bodies. It is not a fixed spot and how could it be? By physics that would be impossible.

My suggestion to you

If you have learned Tango now spend some time learning your body through movement. Understand how one thing relates to the other, what kind of relationships they have and what kind of movements they create due to those relationships and structure

A great place to start is this video by Frey Faust: https://www.youtube.com/watch?v=jy6tJZOQ0Ws&t=102s
And also the Youtube page of Bonnie Bainbridge Cohen of Body mind centering: https://www.youtube.com/user/BodyMindCentering

Start learning about your body to better dance with/in/through it. Understanding how our body was built to move for me is the number one step to take when you really want to free up your social dance but also when you want to structure your dance training knowing, acknowledging and weighing in the risks you take compared to the choices you have

Enjoy and thank you again,

Chrisa

Spiral–Defining our humanity

If you had the opportunity to practice with me on Wednesday you probably noticed that a big part of the class was about this wave-like, this spiral movement our body follows when walking that can help us transition smoothly to ochos.

The spiral as an experience

I wanted to share some extra information on the idea behind this practice and a few extra videos that you can practice with.
The idea behind all this is the defining element of the spiral.
The spiral is not just some random shape that happens to appear in certain parts of the body. It is not just a shape that allows for efficiency of movement.
The spiral is our existence, it is literally our DNA. And DNA being the carrier of hereditary material it is experience!
The spiral in this way exists in our every move from our cells to our highest boleos!

Therefore, finding the spiral in your movement, even in the ones that look fairly straight, will heighten your awareness of your movement and it will energize your whole body with it’s vibrancy.

An important characteristic: progressive wholeness

When picturing a spiral of any type, we associate it, and rightfully so, with continuous energy. However, I would like to add to that and say that there is also the element of progressive wholeness
A spiral always moves switching between condensing and expanding, with continuous transition between the two and a continuous coexistence.
Try to feel the movement through your body when you walk and when you ocho–in the latter it is of course more evident–as a transition and coexistence of condensing and expanding. Instead of thinking how each muscle body part should move try to feel whole. And specifically a wholeness deriving from the continuous flow of the spiral and not through squeezing, pulling, pushing, holding etc.

And so to make it more specific let’s look at our practice. We explored forward and backward ochos feeling how the back and core muscles condense and expand and how one can create a different quality of movement making one or the other action (condensing-expanding) primary.
This is an excellent practice to follow if you wish to explore different Tango styles but also if you want to work on expressing yourself better on the music.

Some extra resources

Ok! Lets see videos to practice on all of this:

In the Spine:

In the psoas:

A brief overview of the body

I hope you will enjoy aaaall of this!
And if you would like to dive deeper into all of this Session #3 of our online classes, will be a great match.
Here is the link: https://bautanz.com/intelligent-tango-programs-and-courses/online-tango-classes-live/   

😉
Chrisa

P.S: If you prefer Facebook here is the link to our Live practice: https://www.facebook.com/bautanz/videos/2679043972416304/

Partner or Individual practice

Individual or partner practice has been a debate we have been into for a some time now… It usually goes like this; since Tango is a partner dance, you can’t really practice individually but only with a partner.

Why are we having this argument?

I am not really sure why this is a debate to be honest, to me it is obvious that you need both.
Of course you need to practice with a partner but that doesn’t mean that individual work is not equally important. It is almost like saying that a tennis professional never practices alone, or that soccer player doesn’t work out or do drills alone but only in a team setting…g

Instead though of using examples outside of Tango I will use today’s (Wednesday May 6/20) practice to elaborate on the matter

Relationship Vs Individual dancer

So here is a link to the live practice this week:

One of the questions that came up from the chat was whether or not we change weight in order to change from parallel to cross system. And this is the question that sparked this very post, so again many thanks to sender! 😉

Ok! So the easy answer is, that on the dance floor one of you, you or your partner, will have to shift the weight if you want to change system, either partner will do the trick.
So cross and parallel are systems that describe our relationship with the other, it is not something that characterizes your movement but that characterizes the relationship.
In an individual practice, such as this, you can’t practice the relationship, because you need a partner for that. But you CAN practice the movement of your body within that relationship and you CAN find ways to improve how you move while in that relationship; which is what we do in our classes and practices.

You taking action in understanding your movement, your role and stance in that relationship, further informs your understanding of it and changes the dynamics and the relationship itself.

Both practicing with and without a partner are therefore equally important and effect one another immensely

If you are looking for more in depth videos and practices join us by subscribing.

If you are looking for more individual practice videos click here: https://bautanz.com/argentine-tango-technique/tango-technique-workout/

😉

Chrisa

Mid-week Tango practice

Mid-week Tango… hmmm
That means on Wednesday… and you know how Wednesdays can be a total drag…
And this Wednesday was not any different, so getting up and ready for Tango was not easy!haha

But I when I got going, things were much much different! And it wasn’t only because I got to move, that definitely helped of course. I think though it was mostly because it gave me a sense of doing something with other human beings. Of sharing something with somebody else at the end of that line.

The new “normal”

So I was talking with this friend and we were saying how in 6 weeks we have found a new “normal” and how it will be very difficult to get back into that old “normal” now for one reason or the other…
So normal is clearly something relative and we are probably better off replacing the word with habit, or circumstance or situation… 
Clearly we are as a species very adaptable, probably much more than any of us expected and so I hope that as long as we stay close especially now that are forced to be apart, we will come together again..!

We will dance together, chat and drink together, play together, fight together…we will find a new normal hopefully more humane and more connected from the old normal

I am not one of those people who will tell embrace this moment, and that this is chance…No I am sorry I don’t see this as a chance at all!
But in this limbo state that we are in, feeling frustrated, afraid, unsure taking the time to be together while afar, to be alone-together feels right and empowering

So thank you for being at the other end moving with me, leaving a note or sending an email!
And I will make sure to hold the space for you in our live practices and classes to come.
So stay tuned because we make these mid-week Tango practices a new normal..! 😉

So if you would like to find the next Mid-week Tango practice, click here:

https://www.facebook.com/events/695108597903672/?event_time_id=695108601237005

And if you want extra Tango goodies weekly in your inbox, join our Bautanz community by subscribing!

Thank you,
Chrisa

P.S: And if you want more, like right now, click here: https://bautanz.com/argentine-tango-technique/discover-your-walk/