Date:    Fri, 23 Feb 1996 16:01:00 -0800
From:    "Brown, Stephen P" 
Subject: Tango is Hard?


Hi all!

Several weeks ago, Larry de LA expressed the view that
Tango is easy.  I agree with his ideas to some extent
that expressing the view that Tango is easy will help
attract new dancers, and that simple walking steps can
be interesting and a useful way to begin.

I wonder what we should say when students venturing past
the simple walking combinations find the new steps to
be extremely difficult to master.  To offer encouragement,
I have told them, "This is hard, and you are improving."

I have also had to explain to many beginning followers
(usually women) that their beginning partner (usually men)
starts out behind them, because he has to understand her step,
perform his step, and lead all at once.  Experience shows that
doing all three of these things simultaneously while dancing
gracefully is fairly difficult.

--Steve

Date:    Mon, 26 Feb 1996 18:13:41 -0800
From:    Larry Carroll 
Subject: Re: Tango is Hard?

Steve says:

> I wonder what we should say when students venturing past
> the simple walking combinations find the new steps to
> be extremely difficult to master.

I think it has more to do with the failure of teachers to make the
more advanced patterns easy. (Teachers have a vested interest in
making them seem hard--though I believe few of them consciously do
it. After all, the sooner students learn something the more likely
they are to quit paying for lessons.)

There are a number of ways to make new patterns easier to learn. One
is to show the connections with previously learned patterns. For
example, here's some ideas that Daniel Trenner & Rebecca Shulman
taught at Stanford Tango Week. (My apologies if I've screwed this up,
or added too many of my own perceptions.)

The Grapevine or Chain pattern is a walking pattern used in a number
of dances; I first learned it in modern dance class.  There are
several variations, and more than one way to describe any particular
one. For instance: Stand facing toward the edge of the dance
floor. With your left foot step to the left side (along the Line of
Dance). With right foot step behind the left (still along the LoD).
Left step to the side again. Right step in front of the left.  Repeat
these four steps as often as desired, always moving in the LoD.

When dancing with a partner the leader usually has the follower do
complementary actions: stepping side behind when the leader steps side
front, for instance. Together they will travel along the dance floor,
curving the pattern at the corners to stay on the floor. But you can
also curve the pattern more sharply, eventually to the point that one
of the partners stays in the center of a circle while the other
partner walks the edge of the circle. This is the Molinete or Wheel
(also called Giros or Turns).

Another way of looking at the Grapevine is that it is a succession of
straightened-out ochos, first forward then backward ochos. (The
complementary pattern is backward then forward ochos.) Thus it is
easy to end a Grapevine by going into an ocho, or get into it from an
ocho.

All this may be hard to understand from just this written text. With a
demonstration it is much clearer. And it shows three sets of patterns
(Grapevine, Molinetes, & Ochos) as variations on each other. This is
conceptually simpler than presenting them as distinctly different
patterns. It also means that the physical skills developed in one
kind of pattern can be used to make teaching its cousin easier.

                                        Larry de California Sur

Date:    Tue, 27 Feb 1996 10:29:54 +0200
From:    Michael Cysouw 
Subject: Re: Tango is Hard?

Steve wrote:

>I wonder what we should say when students venturing past
>the simple walking combinations find the new steps to
>be extremely difficult to master.

Larry reacted:

>There are a number of ways to make new patterns easier to learn. One
>is to show the connections with previously learned patterns.
[following discussion that]
>shows three sets of patterns (Grapevine, Molinetes, & Ochos) as
>variations on each other. This is conceptually simpler than presenting
>them as distinctly different patterns.

Yes, and go on and relate ochos to walking. In fact ochos are a walk and a
turn in the same count. Then we are back from the difficult patterns to
simple walking. As simple as that.
But the problem ain't really those 'feet-patterns', but how to combine the
two partners, to form a pair, to dance together and not do just their own
'steps'. The traditional solution in tango is to give the responsibility to
the man to combine the two (see daniel's writing on some historical reasons
for this).

There are two problems with this 'assymmetry':

-- the man has to learn a lot. As Steve wrote (and I recognize this)

>I have also had to explain to many beginning followers
>(usually women) that their beginning partner (usually men)
>starts out behind them, because he has to understand her step,
>perform his step, and lead all at once.

-- the woman has hardly any influence on the basic music-interpretation. Of
course she can fill in certain parts, but the overall movement-picture is
determined by the man. I often hear women complaining about the crude
music-interpretation of the man, unable to alter something, to do something
more appropriate in their feeling.

My 'solution', simply stated, is to lessen the 'feet-patterns' and
strengthen the 'partner-interaction'. Working on feeling the other at all
time, keeping together, not doing anything that forces the other do make
crude movements. Working on music structure and how to translate the
elemants of music into movements. Everything flowing from simple movements.
Only on the second place should the build-up of difficult figures stand.
Mind this: difficult patterns belongs to tango, but it isn't the central
part.

Steve wrote:

>Experience shows that doing all three [do steps, know the other's steps,
>leading, MC] of these things simultaneously while dancing
>gracefully is fairly difficult.

Well, in fact I'm making it still more difficult. I ask from both partners
that they: do steps, know the other's steps, lead, follow, and know how to
interact. Very, very difficult, but at the same time as easy as
'slow-dancing' as long as you don't speed up the step-intricacy.

bye
michael cysouw
nijmegen, holland

Date:    Tue, 27 Feb 1996 09:19:18 -0500
From:    Robinne Gray 
Subject: Re: Tango is Hard?

>I wonder what we should say when students venturing past
>the simple walking combinations find the new steps to
>be extremely difficult to master.  To offer encouragement,
>I have told them, "This is hard, and you are improving."

  When I teach (swing, not tango) I try to avoid coloring my students'
perceptions by using terms like "easy" and "hard."  They are loaded words
that do nothing to elucidate the material, and in fact they could do
harm--if my teacher says something is "easy" and I have trouble with it,
then I might feel like the class dunce and get discouraged.  Or, if I am
led to expect something to be "hard," that may create a barrier to
assimilating the material.  What is easy for one is hard for another.

  I certainly understand the temptation to make such value judgments,
because they make the teacher seem empathetic to the student.  If I feel
the need to say something of this nature, I try to temper the sentiment:
"Some of you may find this pattern challenging."  Or I show empathy in a
direct and genuine way:  "I had a lot of trouble with this move when I
first learned it, but here is what helped me to understand it better."

>I have also had to explain to many beginning followers
>(usually women) that their beginning partner (usually men)
>starts out behind them, because he has to understand her step,
>perform his step, and lead all at once.  Experience shows that
>doing all three of these things simultaneously while dancing
>gracefully is fairly difficult.

   I have heard several different versions of this statement in various
classrooms, and they make me uncomfortable.  The condescending subtext
seems to be, "Ladies, give the guys a break, because they're working very
hard whereas all you have to do is follow."    [Does this have a familiar
ring?  Ladies, don't ask too much of your husband, because he works hard to
earn a living, while all you have to do is mind the children and the
house].

  Because leading and following are very different yet complementary
disciplines, I try to avoid anything that hints at placing a higher value
on leading (or following, though that is a less likely scenario).   A
conscientious teacher can encourage students in both roles to cut each
other some slack without implying a higher value on either set of skills.
("The leaders may need to try this several times, and the followers can
help by trying not to anticipate the lead.")  This is important, because
the prejudices we unwittingly impart as teachers will  trickle down into
our dance communities.


Robinne Gray
Ithaca, NY

Date:    Thu, 29 Feb 1996 20:11:22 -0800
From:    Larry Carroll 
Subject: Re: Tango is Hard?

Steve wrote:

>Experience shows that doing all three [do steps, know the other's steps,
>leading] of these things simultaneously while dancing
>gracefully is fairly difficult.

I think this is another example of a task being made too hard, partly
by teachers & students setting the goal too high, too soon. Beginners
shouldn't expect to do lots of fancy stuff.

All the beginning leader (and follower) needs to know is the following.
        _____________________________________________________

LISTEN TO THE MUSIC, let it get inside you & guide you.  Unless you
fall down or hurt someone, whatever you do is right.

PAY ATTENTION TO YOUR PARTNER. All of us have skills at reading other
people's body language that we don't even know we have. Focusing
attention on your partner will alone activate a lot of these skills.

WATCH OUT FOR PEOPLE & THINGS AROUND YOU. You've had decades of
practice navigating in a complex environment; it shouldn't be hard to
do on the dance floor. Keep your head up, not looking at your
partner's feet (or bosom). It's all right to turn your head from side
to side occasionally.

KEEP A GOOD FRAME. Without one you can't lead or follow. Practice
alone with your arms & hands in the correct position. This will build
strength & several of the habits underlying a good frame. Soon you won't
have to work hard at keeping a good frame.
        _____________________________________________________

Other important things to know.

IMAGINE YOU'RE A GREAT JUNGLE CAT. As you learn & work on the details
of good tango style, attach them to this self-image. This will speed
the day when your movement skills are automatic. Think of yourself as
powerful, graceful, beautiful. (But don't overdo it! This feeling is
why tango is the sexiest dance of all; you may find yourself being
turned on at the wrong time!)

DON'T FEAR MISTAKES. Focus on the next thing you're trying to do;
otherwise your anxiety will cause you to make more mistakes, and keep
you from enjoying all the things you did right. Learning to recover
from mistakes builds the skills of good recovery & confidence. Also,
mistakes can be good; in recovering from them you may discover or
invent patterns even your teachers may not know. Lastly, remember: if
you're NOT making mistakes, you're not being daring enough.

HAVE FUN. If your soul can't dance, it doesn't matter how good your
body dances; you will always be second-rate. But if you're filled with
joy (or sadness), your partners will be more likely to feel it, too, &
want to dance with you more. And astute watchers will know that, even
if you're not very good yet, you've achieved the most important goal
you can have in dancing.
                                                Larry de Universe

Date:    Fri, 1 Mar 1996 15:53:36 -0800
From:    tanguero@milongas.Eng.Sun.COM
Subject: Re: Tango is Hard?

>>Date:         Thu, 29 Feb 1996 20:11:22 -0800
>>From: Larry Carroll 

>>All the beginning leader (and follower) needs to know is the following.
...

Nice posting Larry. I would like to add one more to the
suggestions made by you:

DON'T FORGET THE BEGINNERS ONCE YOU BECOME PROFICIENT. Give back to tango
some of what you have learned. Dancing with beginners is like tutoring
in college: it cements what you already know and lets you discover subtle
nuances that you didn't know existed, plus it makes you a hero :^)

Vale.
-----
C.F.

Date:    Fri, 1 Mar 1996 19:35:11 -0800
From:    Larry Carroll 
Subject: Walking is HARD

As my last post before I signoff from TANGO-L, I'm going to reverse
myself. I've been saying that tango is easy. Now I'm going to say
that tango is hard!

More accurately, I contend that tango should be taught so that
beginners can begin dancing right away. They might not be very good,
but they should be able to enjoy themselves. To share in the core
experience of dancing tango, so that they will want to continue.  So
that they are not scared off by the belief they have to invest
enourmous effort to be even barely adequate.

On the other hand, it does take a lot of work to MASTER every skill.
Even very simple skills take time & practice. (Despite three decades
dancing the waltz, I'm still working on its heel-toe-toe-heel
up-and-down motion.)

Let's take the tango walk as an example. To do it right you have to
practice the following.

*  Stepping forward onto the ball of the foot, not the heel.
*  Keeping your knees & ankles together as you walk.
*  Beginning each step with knees slightly flexed & straightening them
   as you step to keep your body at the same level throughout the step.
*  Reaching backward further than in a normal walk when stepping back.
*  Tilting the upper body toward the direction of movement before one
   takes a step.
*  Stepping precisely on the beat.
*  Learning how to do cross (or hook) steps, where one crosses one foot
   in front or behind the other before completing the weight change.
*  Keeping shoulders parallel with your partners as much as possible,
   even after doing a salida to dance outside your partner (right foot
   outside their right or the less-frequent left foot outside their
   left).
*  Learning to do more or less contra-body movement when taking steps.
*  Varying & combining in many interesting ways the three simple patterns
   I described a few posts ago. Take the tango close, as an example.
   Instead of forward-side-together (for the man), you can do
   Fwd-Fwd-Tgthr, Fwd-Tgthr-Tgthr, or even Tgthr-Tgthr-Tgthr. You
   can also do the tango close in reverse.

In addition, as you get more advanced you want to do more than walk in
a steady, march-like rhythm. You'll want to practice double-time,
triple-time, or even faster-tempo steps, including the very short,
very fast "stutter" steps that Juan Bruno & Miguel Angel Zotto (among
others) do to spice up their dancing.

You'll also want to work on walking with different amounts of lifting
the feet off the floor, from gliding which barely carresses the floor
with your feet, to high steps.

And you'll want to work on tiny details of foot-placement. For
instance, when drawing the foot from the side to a position close to
your supporting foot, try bending the knee inward so that the inner
edge of your foot touches the floor but the outer edge is off the
floor.

Lastly, their are a number of adornos that can ornament each step,
taps small & large, striking the floor with ball of the foot, the
toes, pointed toes, to the side or in front or behind ...

So, what's the significance of all this? Am I confused or deceptive
when I say tango is "easy?" No, I say tango "has depth," and that at
every point along the path of mastery one should be at ease.

                                        Larry of the Shadows