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
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The embrace is where Tango lives… In all practical ways the Tango is created within and through the embrace.
There is a lot Do(s) and Don’t(s) out there on the embrace, so I was hoping to create more of an opportunity for everyone to explore the different body parts that form the embrace, and bring forward more experiential knowledge than Tango-specific advice
Relationship of the Individual Fingers with the Shoulder Girdle and Ribs
In this video Bonnie, founder of Body Mind Centering (https://www.bodymindcentering.com) talks about the process of creation and specifically how are hands are created from the pinky to the thumb while at the same time our ribs are formed from top to bottom. She then goes on to explore that relationship.
When I first came across the video, I found it fascinating! It completely changed my understanding of my body in space and my relationships with others. Everyday we reach and touch with our hands, almost everything around us; multiple times a day we are making a choice whether this touch may or may not be reflected in our posture, our movement, our mood.
Leading and following is what we call these very choices in Tango. In the following video using the exercise Bonnie shared above and adding walks and ochos I am inviting you explore the movement chain through the embrace
This was a…bad…experience
Bad experiences… moments we have sworn never to dance with THAT person again… pain, discomfort, frustration… Yes, I know…some memories can be haunting! We now though have a chance to fix it; or some of it
First, we need to understand where the pain and the discomfort we experience in the embrace comes from; and then hopefully though this video you will know how to avoid putting yourself in unsafe positions and how to mitigate the impact of an improper action coming from your partner
Seeing the big picture of the hug
So the videos above will help you immensely in acknowledging dangerous positions and finding healthier ones for the joints. Also, it will help you recover faster if you are experiencing pain or discomfort after a milonga
What though doesn’t recover as fast as the body–and we know that can be rather slow–is our psychology. I as many other followers have fallen in the trap of avoiding to dance with anyone new because I didn’t want to risk another sore shoulder or back. it took a long time before I could trust what my eyes could see, in terms of who is a partner who will “listen” to subtle body cues and adjust his/her position. So, the issue here is not to simply find the right embrace for you BUT to find the way to be flexible and adjust your position to help yourself and/or your partner. Usually the necessary adjustment is very subtle but it seems huge The feeling of relief though when you find that sweet spot where your embrace is genuine and your movement is free it is even greater!
It is interesting to see people’s reactions to boleos. I am actually sure quite a few people probably won’t read this article because it includes the word boleos in the title…but for those who are here now be prepared for a bit of a twist to your regular boleo experience…haha
Boleos are not high kicks..!
So what is a boleo? A boleo is a change of direction on a turn, on a pivot It doesn’t have to be powerful, it doesn’t have to be high or super low and of course it doesn’t have to be a kick
Certainly there potential for all the things mentioned above…all of them though refer to style and not to the essence of what a boleo is.
ALL we need for a good boleo
And unfortunately it is not love…haha
2 are the main ingredients for a great boleo:
Timing as with everything in life and
The balance between energy contained and shared
The following video looks into both of these main items and sets the base for fancier boleos and more in depth explorations
Look beyond the kick- Enhance your Tango technique
If we look at a boleo for what it is, a change of direction and make our focus to make as smooth as possible whether contain or share energy, we will soon discover that there certain elements such as the hip axis that if we focused on them we could have a completely different experience during our dances.
The next two videos go progressively deeper into exploring the hip axis and especially the last one creates the link to other Tango essentials such as our walks and ochos
Walks and ochos are the two elements at the heart of Tango; every sequence with maybe the exception of off-axis sequences are based on walks and ochos
It is therefore important to get a good understanding of how walks and ochos work and how they can be tied together. And this is exactly what we will be focusing on in this post
Zooming In: Walks and Pivotal timing
In this first video we are putting our walks under the microscope. We capture though the whole body, aiming to understand how all the dots connect.
By focusing on the feet, the legs, the hips, the torso and the spine we will discover that the opportune moment for a pivot, hides within our step.
Once that discovery is made, we can see how a walk can turn into an ocho and vice versa. This way walks and ochos aren’t as separate, disconnected Tango elements that are need a sequence to connect them. This way we get to create options for ourselves on and off the dance floor.
Tango Technique: Zoom In on Ochos #2
In this second video there is a great focus on the upper body but again not as a separate entity.
The human body has so many fascinating links. The psoas major for example, originates in the outer surfaces of the vertebral bodies of T12 and L-1-L-3. T8-T12 is where your thoracic spine changes to Lumbar spine, so a muscle that goes around your hip reaches all the way up to your second- last rib… Fascinating! (Look here for more: https://en.wikipedia.org/wiki/Psoas_major_muscle https://en.wikipedia.org/wiki/Iliopsoas)
It is all connected I tell you!hahaha And by exploring these connections we can make our dances have much more flow, freedom and efficiency.
Tango, Body mechanics and Energy management
What was implied or talked about as secondary in the two previous videos, becomes primary now… Energy management..! Energy management not in a spiritual, abstract way, but in a very physical way. Managing the energy our bodies need to perform a movement and how can we manage our energy so it is not wasted.
Basically in this video we are aiming to make Tango feel a bit easier, at least in execution…haha…meaning that walking across the floor shouldn’t feel like a physically demanding task and pivoting also.
We put styling and personal preference to the side to examine how the body was in fact built to create these movements. Some being more chaotic than others, will require further exploration; and funnily enough walking is probably the most chaotic of all as it requires a lot of movements around different axises and on different planes.
So we have tried to come up with exercises that can help us understand a bit of the chaos, and possibly add to it; exercises that will allow us to feel a bit more comfortable in this chaotic movement and that will allow us to define the opportune moments for a change
I hope you have enjoyed this as much as I have. If you have any questions, comments or light-bulb moments drop me a line, I would love to chat with you!
It usually goes this way; a theme is chosen, with today’s theme being the cross, and then we start working on it or with it from various perspectives.
The cross where do we get stuck: a Tango perspective
Our intention overall is to understand what causes the trouble and specifically for the cross why we get stuck; why we’re unable to move past the cross itself. So in this first video we put the 2 most important stickie points under the microscope; we found paths to avoid getting stuck; we identified the body mechanics supporting these paths and made sure to look for them in our walks and embellishments.
Sticky point 1: how the free leg crosses. Without even shifting the weight crossing might be an uncomfortable position, causing a feeling of imbalance. And so we start this practice with an embellishment.
Sticky point 2: shifting the weight. We either fall into it and we then get stuck or we try so hard to stay lifted that we don’t allow any other movement to happen but pressing into the floor or we try to keep everything square ignoring the fact that we are already in a twisted position. And so the second part of the video really tries to point out how the different parts of the body reorient towards the right or towards the left, through osculation for the legs to be released from the cross. And aaaall this leads us to…
Taking it a bit further than just the cross…
We asked ourselves how does all this work on the cross can inform our body and our everyday movement and so in the next two videos we are looking to inform our walks. And then we are diving deeper into how the leg fits and moves inside the hip and how the hip moves around the leg
And a bit further…
If you think about it, there are so many spots in our body that we feel pain during Tango but also during our everyday life. Two of the most common ones is the hip joint and the lower back. Thankfully they are connected…haha… so by making our movement in the hip joint more efficient we can get rid of back pain and vice versa of course. And soooo happy feet give us happy dancers
And this is how I see practicing Tango; as an opportunity. An opportunity to create freedom in my dances but also to create healthier movement habits overall.
And so if you want to take things further yourselves, this work is based on the findings and the teachings of Frey Faust the founder of Axis syllabus (http://www.axissyllabus.org)
Giro technique…it can be tough but we will smoothly get through it… 😉 In our previous post https://bautanz.com/2019/03/20/music-sensing-feeling-and-action/ we were looking at rhythmical explorations. We used rebounds, walks and ochos and tried to figure out how these three elements, these basic Tango elements, can help us create something special on the dance floor.
These very elements though, we can find them in giros and naturally… this is what this post is about… Giro technique!
2 Rhythmical variations
If you have been in Tango for some time you’ve probably been taught the giro step following this basic rhythmic pattern: quick quick slow slow
And the truth is that this pattern even though we don’t HAVE to necessarily follow it, works quite smoothly; it has a nice flow to it and that is why we are not going to be changing that rhythm today. We’re only going to be exploring it further…
The transition between quick-quick and slow, slow…
I think an image here can help us a little bit with his exploration. Imagine a rainbow and on one end of the rainbow we have black and on the other end we have white and in between we have all the colours, every colour possible. Our transition is THAT rainbow! On one edge of the of the rainbow will be the “quick” part and on the other end will be the “slow” part. In variation #1 we will stay closer to the quick edge of the rainbow while in variation #2 we will move closer to the slow part. As we switch between the two, we will notice the colours in between and how our perception of them changes as we transition
If you are a beginner in Tango and you don’t know the giro step yet, then I would recommend that you watch the whole video from beginning to end and then just start practicing the step itself without worrying about the rhythm at all. Don’t worry about the quick- quick ,slow, slow, just do the footwork and once you feel more comfortable with the with a step itself then you can move on to exploring the variations If though you are familiar with the giro step I would encourage you to start from the END of the video from the very last exercise that focuses solely on the transition itself and then make your way through variations 1 and 2
Giro Technique: 8 anchoring points
Another vital transition for the giros, is the transition from standing on 2 feet to balancing over 1 foot and vice versa This transition hides a lot of habits, good and bad. And of course good habits are more than welcome…haha… the bad habits on the other hand we want to notice them and hopefully through our practices replace with more efficient ones
So here are some extra tips that can help you this video:
Listen for any trouble. Tension tends to be quite “vocal” through our bodies but we usually because we think it is normal for tension to manifest itself, we don’t pay attention to it. So distinguish between strength and unnecessary tension. Some of the most common places we find tension are: the hip joints, the lower back, the shoulders, the neck, the sternum, the face muscles So when you lift one leg up, make a quick check, take your mind through all of the above spots in your body and see if you can relax them
Standing with the weight split between the 2 feet. Notice how you reach for the connection with the floor tracing from the bottom up; from foot, to ankle, to knee, to hip, to ribcage, to arms, to neck and head.
You are special. Accept that your body is slightly different than your friend’s, your teacher’s or mine. Your focus should be to experience all the tips you hear in the video and not to bring the leg as high as I do, or to twist as much as I do. These movements exist in your body already; they live in your everyday walk, Tango is only an opportunity to expose them, become aware of them and possibly make them more efficient over time. So pay close close attention.
Hands to Ribs – A top-to-bottom practice
After talking about rhythm and after trying to understand and explore further the transition from 2 feet to a 1 foot balance, in this giro technique video, we are going to look into pivots and specifically we’re going to explore further the preparation phase for the pivots within the giros.
One of the most common mistakes we make in giros is skipping or pulling through the preparation phase; the phase where we are still transitioning from one foot to the other but we know there is a pivot coming and so we are preparing your body for the pivot; those very few seconds before the pivot happens.
What we will be doing in this video is acknowledging first of all that in-between stage, finding within our giro step.
And then we will be focusing on how the upper and lower body are working together during that phase, we will be looking at how much energy and power we need to create and use to make our way around the pivot and last but certainly not least we will be focusing on finding the right timing for the pivot to start.
Many a times we are running a little bit behind getting stuck in that in-between phase or as we mentioned before we really rush through it and we hop straight into the pivot so our goal here is to be able to avoid both of these troubling bad habits and to build a habit where we we are in control of the transition from a linear movement to a circular movement
Soooo that is all folks, at least for today. Giro technique right before the weekend milongas, perfect! And if you loved this and you want more, join the community of Bautanz! I share a video every Wednesday… 😉