Tag Archives: musicality

Dance like a child..!

I always struggled with phrases such as “just dance”, they feel a bit ambiguous. I know what they mean obviously, but they can mean a lot and nothing at the same time. And so I am afraid that creates a wall for people new to the dance community, instead of liberating them. So I thought maybe we can use a different phrase, for example “dance like a child”.

“Just dance”, what does it mean?

To me, the way I understand it and the way I have used it in the past ( with no success), it means without thinking about the rules. Allowing yourself to enjoy the moment of dancing without having to think of what you have to do. Without having any expectations or trying to meet any standards. Maybe I missing something here but I am sure that I am close.

Now the problem is, this is not obvious to someone still learning to dance.
Why? Well I think for a couple of reasons.

If this phrase is used to describe the “warm-up dance” (we will get to this one is a bit), aka if this phrase is used at the beginning of a class or practice; well it is contradicting the reason people are there. People have walked in a class or practice to learn and advance their skill. They are in a completely different mindset compared to “just dance”. Inescapably the instinctual reaction is “I can’t just dance, that is why I am here”.

Secondly, if we are using this phrase in a social setting, such as a milonga, let’s consider the following problem. The amount of time the average person, wishing to adverse their skill, spends in a class/ practise environment far overshadows their dance time. So they are better at think-and-do than just do.

Thirdly, and naturally coming from the other two points, “just dance” is a skill itself. Dancing is a skill but just-dancing is just a little bit of a different skill. Which means it also requires training.

So bottom line, the average person receiving the cue, may understand all the words in “just dance”, may guess the meaning of the phrase but has no idea of how to actually begin to do that. Not to mention that they might not understand the phrase in the same way as it is told. Because you may have a different understanding of “just dance” than me. And as such, I think, we need a better phrase and system to help people build on this skill.

Dance like a child

Dance like a child or move like child, depending on the setting and the type of dance one teaches, can get us out of this little word trap.

Ask anyone, and they will be able to tell you what dance/ move like a child means. They will probably use words like, “freely”, “without limitations”, “carefree”, “not caring about the rules”, “having fun”, “moving around”, “doing whatever they want”, “living the moment”, “expressive” etc. I am sure you can come up with some more of your own. All though easily and securely leading to … enjoying the moment without thinking about the rules or someone watching..!

Which is EXACTLY what we want!

So I would like to invite you to start every practice and if possible every class with such a dance. A dance where you actually dance like a child.
Some teachers already start their class with a dance. And here I have another wording issue… haha
That dance is usually called a “warm up dance”.

Now to some level it is a warm up; your body is getting warm which is necessary for most activities. But I don’t really like the term in this context. Warm up is so fitness oriented, it kind of creates the wrong idea. Maybe we can say a prep dance instead of a warm up dance.

Prep dance, as in preparation dance. We are preparing ourselves, body, mind and spirit, for our class or practice. Which I think, even mentally can create the possibility for us to leave what we already know behind and open a window for new knowledge.

To fun prep dances everyone! Dance like a child!

Chrisa,

P.S: For more tips that go beyond technique check out our Guide: “It Takes You to Tango”

Milonga from scary to fun!

Milonga, the dance that can be sweet and spicy at the same time!
I had always loved the music but in the beginning couldn’t get a hang of it. I preferred to sit and enjoy listening and looking at people dancing away than dancing to it. Thankfully that has changed!

How is Milonga different from Tango

The first thing that had messed me up is treating the Milonga as a fast Tango.

Milonga is not a fast Tango, it is a different dance and different music altogether.

In this paragraph we will see the key differences between the two dances.

  • Starting with the music, we have a different structure in the Milonga, which is on 2 beats whereas the Tango is on 4
  • In terms of our position on the dance floor. When we dance Milonga we have the open side of the embrace facing the dance line, therefore the leader is facing to the outer edge of the room, whereas in Tango the leader is facing the dance line. This difference in placement allows us a double side step in the Milonga, which is very characteristic of this dance and forbidden in Tango.
  • Floor navigation is also different between the two. In Tango we don’t stay at the same spot, we cover more ground, navigate around the dance floor respecting. In the Milonga we don’t cover that much ground and staying at the same spot is generally allowed within reason of course. That is mostly because we are dancing at a faster tempo
  • To accommodate for the faster tempo, we need a different movement strategy. We don’t have time to shape the movement since we have to act fast and so we keep a more “centred” posture, arranging the head, torso and hips in the middle and moving within the neutral range of our joints instead of reaching at the edges of flexion or extension
  • Taking a look now on the embrace, in Tango we don’t see partners changing their orientation towards one another. In one of the most characteristic Milonga steps, the Zig-Zac, partners are offset to one another and switch sides during the step. Something we never see in Tango, or if we do it is only as an accent
  • Also forbidden in Tango but common in Milonga is shifting the weight as we pivot.
  • Lastly, especially in the Milonga Lisa a swing of the shoulders is a strong characteristic. In Tango we rarely see it and if we do it shows up as an accent.

Going back in history

Going back in the history we can find a relationship between the Milonga and the Cuban Habanera with the former being characterized as an excited habanera. Nestor Marconi, the famous bandoneonista, had said though that Candombe gives Milonga its edge, the strong staccato, the upbeat and the syncopation. So we have swing from the Habanera and the beat from Candombe.

There are two styles of Milonga, the Milonga Lisa and the Milonga con traspie or double time.

The difference between the two is the speed and the textures.

Milonga Lisa is slower and has more swing which allows us to play with the upper body, swinging the shoulders. The Milonga con traspie is faster and accentuating the beat.

So we need to capture and express each style to the appropriate music and not use the slower versions to dance fast and vice versa

We need to go slower and swing through the movements in Milonga Lisa. Go fast and accentuate the beat in
Milonga con traspie. Be true to the spirit of the music.

Lets talk about the BEAT!

Talking about speed; we also have 3 different characteristic speeds:

  • In the first we alternate the downbeat from the right to the left foot. So if we have 1-2, 1-2, 1-2, we would be stepping on 1 and transitioning on 2.
    It would be: Right-transition, left-transition, right- transition, left-transition. The upbeat therefore is not marked
  • For the second speed, we have the downbeat on one foot and the upbeat on the other. So we would have: right- left, right-left, if say we are marking the downbeat with the right
  • And the third speed, we have the down and the upbeat on the same foot: right-right, right-right, right-right

Of course the first speed is the slowest the third is the fastest. Take a look on how you can practice the different speeds

Get a 1hr class on Milonga by subscribing the Bautanz community.

Enjoy,

Chrisa

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

Rhythmical Variations – Creating Options

We practice on musicality, on rhythm, rhythmical variations of steps, on matching sequences to specific musical textures, orchestras, styles… Overall we practice on listening and understanding the music. So what are we really practicing here? Options! Creating options or better yet having options readily available while we improvise.

Rhythmical Variations that create options

One of the most fascinating exercises I have been taught, was by Mariana Montes and Sebastian Arce in a festival in Kalamata Greece, quite a few years back now. It was around the ocho cortado, and how one can perform the step in different rhythms.

The rhythmical variations we were taught back then were so fascinating to me, not only because they offered me different ways to do the same step, and therefore match it to different music but because I got to reshape the step.

Ok! Before I get into that, let me share with you a video where I have reproduced that ocho cortado rhythmical variation exercise so we can actually have a point of reference

Reshaping the ocho cortado

Usually we see the Ocho Cortado as one whole sequence consisting of 6 steps. When we go through the rhythmical variation #1 where we step on the downbeat, every one of these steps, by having its own beat, becomes an entity of its own.

Then when we add the pauses on step #3 and #6 the ocho cortado breaks into 2 sequences instead of 1 and the same happens when we syncopate it.

When we go slow, though we are now playing with one sequence, the sequence is now very flexible, greyed out around the edges almost. And lastly, taking a step on beat #7, shifts the beginning and ending of the sequence around, so we really end up with 6 different sequences.

See how much richer our dance vocabulary has become just by playing with only one of the most basic Tango sequences. Now think of all the other sequences you have learned over the years, can you do something similar? Can you possibly come up with ideas on how shift and reshape those sequences?

Creating options is another skill!

I have learned this from James Altucher who is not a Tango dancer but he is surely an explorer..! So he said, that he practices on his idea muscle daily! Fascinating right?

He uses it for business. We can use it for Tango… and for business of course if you like.
So here is my suggestion, and believe me it is fun..!
Now that you have an idea of how this can work out, take one of the basic Tango sequences, such as the box step or even just walking, write down 5 different ways that you think you can perform that step and then actually try those ideas out with music!

If you need some inspo we will be doing something similar in a Tango Movement Lab on Wednesday 12:15pm going on live through Facebook and Youtube. And if you are looking for even more inspo join our classes that will be full of rhythm and music..!

Hope to see you soon,

Chrisa

Rhythm, is in us all!

Rhythm, for some is something effortless and fun and for others a constant effort and frustration. And the truth is that the fact that it is in us all, doesn’t make it any easier to identify.

But lets take things from the beginning…

What is rhythm?

Rhythm is not the beat of the music or dissecting a music phrase in 7, 9, 11, 4 or 8s and it surely is not steps on a beat, like choreography. All these are methods to explore rhythm but neither of them is rhythm in itself.

I would like to suggest that we explore rhythm as a relationship between direction, velocity and distance. And that relationship is affected by mass, inertia, impact, energy we like to spend, shapes we want to create etc. Let’s look at some examples:

  1. elements moving in the same direction at the same time
  2. elements moving in opposite directions at the same time
  3. elements moving in the same direction at an alternate time
  4. elements moving in opposite directions at an alternate time 
  5. repetition which is inherently rhythmical

Practicing rhythm therefore will need to allow us to further explore and become more aware of those relationships; that are more relationships with world and not only with a specific song.

How to practice rhythm

For the month of March, as part of our Movement and Mindfulness workshops, we explored rhythm as described above and so thankfully I have a 1hr video to share with you, that can lead you through explorations on rhythm and hopefully inspire you to come up with your own explorations as well!

I would suggest you spend some time exploring these symmetries with your arms as it is easier compared to working with legs. Also work for a bit without music before you add your favourite music to accompany you. And you can work with all of these symmetries together or focus on one or two of them at a time, whatever works best for you!

Putting it together in a dance

Such explorations I find them extremely useful as they help me understand what I might be doing unconsciously or what I might feel I can’t reach. Whatever the case maybe though, real-life experience and testing is required after every exploration of every kind. If we don’t take what we learn in our real-life how will it stick? How will it become more than just an exercise? And most importantly how will it teach us to a level where we start changing our old habits and building new ones, aka progressing?

So after you complete the explorations above, or anytime during the video that you feel the need or you feel ready, completely let go of the exploration and just dance. Stop doing the exercise, and just dance. Feel how what you have explored so far manifests itself in your dance.

And of course this doesn’t stop there, step out of your practice shoes but take your practice with you. See, notice how rhythm manifests itself in your everyday life, when breathing, walking, shopping, doing the dishes. Make every big or small thing a dance!

Enjoy and join us for more by subscribing!

Chrisa 

P.S: For more on music and rhythm you can check here and here

Music, Rhythm and Mindfulness

Music and Rhythm is the title of our upcoming workshop happening on Saturday, February 27. It is part of the Mindfulness series but I realized I should have actually included mindfulness in the title. 

Being mindful

Mindfulness; because it is an invitation to explore and tune into the rhythm that is moving our bodies everyday, when we opening and closing eyes, when we are breathing, when our heart is beating, when we are walking and when we are still. But it is also because it is an invitation to acknowledge our bonds with the world. And by bonds I mean:

  1. relating to, responding to and sharing music in a respectful way
  2. attempting to feel the layers, textures, colours, tastes of each music composition
  3. accepting that we won’t most likely be able to capture all the brilliance that goes in a song but
  4. doing the best we can to hear to it, to feel it and open our minds and hearts more and more to it
  5. despite of our preferences; let’s try not to ignore the important elements in the music. For example violins in Fresedo are very prominent we can’t ignore them all the time
  6. showing parts of ourselves when we dance. Allow some vulnerability instead of going into the song with a “technical”, “how-to” approach
  7. acknowledging that our partner might still be trying to tune into their rhythm and offer them support instead of “pointing out” (dance wise) their mistakes 
  8. accept that people listen differently. That might mean that specific partners are not really a good fit for you and vice versa

I was hoping to get to 10, but this is all I got so far… maybe you can share some more with me!

Music and Rhythm is part of being human

We move before we speak! We explore the world through movement and rhythm… Think of a baby bobbing their head, or moving their arms and legs excitedly or how their whole body is involved when they are crying or laughing.

There is rhythm in our breathing, in our pulse, in the movement of different fluids in our bodies. Some would go as far to say that we are movement and rhythm! It could be true, if you think of how we are conceived and how we come to this world

However, as adults, sometimes, we experience difficulty connecting to those rhythms or identifying the rhythm of our movement; which of course then makes it more difficult connecting to an external rhythm such as music.

So what do you say, we try to it rediscover all that, rebuild those connections, together next Saturday February 27 at this Music and Rhythm Workshop.

  1. Hosted online through Facebook and Zoom- links will be shared 2hrs prior to the event
  2. A Pay from the Heart, so there is no set ticket fee, we are welcoming though donations: https://paypal.me/Bautanz?locale.x=en_US
  3. With a recording made available after the class to those interested.

Hope to see you then,

Chrisa