The way we teach how to dance tango is full of problems that we’re all aware of. In this exclusive (fun!) video you’ll find the full presentation on this subject that I gave at IUNA’s 2º Congreso Internacional de Tango Argentino. It is in Spanish, but English subtitles are available.
Some of the ideas you’ll find are the current difficulties in teaching tango, the values that tango has that we destroy when we teach, and some further reflections on technique, the codes for leading steps (“la marca”), roles and improvisation.
Without further ado, the video (English subtitles should be enabled by default here):
So, what did you think about this? Leave your comments below!
Esta entrada también está disponible en: Spanish
Super interesting talk and ideas. If I understand you correctly though, this would require that all people express their emotions in a similar physical manner? Otherwise the two people in the couple will not be able to dance well together: for example if the feeling of joy makes me more energetic, but my partner more calm, then how can we dance together? Not sure, maybe I misunderstand what you are saying, but super interesting. When I dance, I’ll try to pay more attention to how I feel and how that affects my movement. Thank you for your blog!
Thanks so much for your comment! I really appreciate it. Also, great question! Let me try to clarify what I think about it. It will take a while so hang in there 😉
First off, you don’t need your partner to be thinking and acting through the same technical lens for this to work. Of course it would be very helpful to help you explore some ideas in more depth, but the same can be said about any other thing, in tango or outside of it.
More to the point, there’s two things that come to my mind with respect to the assumption that by focusing on feeling I might have a different energy that my partner’s.
The first one, you’re kind of not considering that this happens all the time when you work under a different framework. That’s why it’s hard to dance together, and that’s the reason most (good?) teachers insist on saying you need to pay attention to your partner. Now, IF you’re paying attention to your sensations, this might become a more obvious problem to you, and you won’t need an outsider to tell you as much.
The second one, and this is a bit tricky, if you’re trying to bring more energy than your partner can/wants to manage, you’re kind of in the wrong already (not saying you personally, just using your example) . IF tango is really about being together, your first instinct should not be to channel something you personally want, but to let go. Always accept what happens (i.e. the other person is not as energetic) and let go.
It stands to reason that if your partner is following the same rules, there will be some space for your energy as well (they will not impose their calmness relentlessly), but there might not be… and then your job is to let go. Otherwise, there’s never going to be a couple and it will be your fault. Maybe your partner’s too… but yours too, and that’s the only part that you can ultimately change 🙂
The challenge then becomes how to reintegrate some of what you want without interfering with your partner. This is a really complex issue, but it can be explored with a bit of patience. To put it simply by way of an example, maybe you’re trying to put your energy into increased speed, or longer steps, but maybe you can channel your need into a shift in muscle tone instead (tensing a little… without impeding your partner!), or more localized activity around your shoulders, or a change in the way you take your steps, or crossing your legs more often, or a huge number of other things.
Of course it’s about finding a balance, but in case of doubt, err on the side of letting go and work your way back if you can (or don’t if you can’t).
This was not covered in the previous talk at all, but it’s a huge space to explore, and it’s basically the terrain of expressiveness.
How exactly you’re going to express yourself is your choice, of course, but too often (as in “always”) that’s the excuse for not talking about any of this: “it’s your choice so I’m not discussing any of it, up to you”. Also, the idea that this is reserved for the stage. But mostly it’s a framework issue, if the way we understand, think about and explain tango is what it usually is, some of the issues don’t have a clear answer because we don’t have any specific technical elements around the related concepts. And there’s no mention of expression in tango technique, and very little guidelines on actual subtleties of communication like the ones you mention, so it mostly gets addressed “mystically” or “philosophically”, never practically.
Not sure if any of that helps clarify my views a little more (let me know!), and thanks again for writing ^_^