Category Archives: Tango Learning

Comprehensive Capture of all tango learning with sub categories

Giros – A summary of the mans footwork

Four variations of the footwork in Giros.

Notes

Mark/Secada strong beats
Never mark the side after back this is double time
Simple changes of direction man stays collected
Default for going to right is my right on her forward step
Default for going to left is my left on her forward step

On the side we can enter more in the middle of the step and receive a wrap

Detailed Sequences of the man

Number one

1st: woman cross, Right forward, left side, right back, left side and final pívot.

Man right sacada, left sacada, wait, right mark and pívot with right foot

2nd: woman cross, Right forward, left side, right back, left side, right F, left S, right B, left S, right F and final pívot.

Man right sacada, left sacada, wait, right mark, left sacada, right sacada, wait with traspié, right mark and pívot with right foot.

Both sequences with a final traspié of man marking the pívot with his right foot

Number two

Almost the same thing as the first one, but the second giro starts with man left sacada, right sacada, wait, left mark, right sacada, a left sacada, and a right mark immediatly before final woman pivot with right foot

Number three

Man left sacada to the woman trailing leg (the right one), right sacada, wait and left mark, right sacada, left sacada, wait and mark with the right foot and final pívot marked with left foot

Number four

Same thing as the 3rd video but after the pivot we change giro direction with women right F, left S, back amago and coming with right F.

Man sacada with right, traspié during women back amago, collect and spectacular final and amazing pose to a perfect end!!

 

 

Meeting my Tango Idols

As a Tango student of just 3 years I am so fortunate to have teachers that I respect so much and with whom I love to work with.

But as someone who so wants to learn I have of course also a few idols – dancers that I had never met, never seen in the flesh – but have watched so many hundreds of times on Youtube, astonished that anyone can ever get to be that skilful.

And although there are many world class dancers – for me two couples have always stood out – for such different reasons – Chicho Frumboli with Juana Sepulveda – and Carlitos Espinosa with Noelia Hurtado.

When the chance came to travel to a 4 day festival in Zurich last weekend and not only watch them perform but also to study with all of them in  workshops every day – of course  I had to go.

Actually I was scared – because an idol is just that – and to meet someone, to see their imperfections,  to touch the reality of them might destroy an illusion that has been so incredibly inspirational for the last couple of years.

carlitos-noeliaa-teaching

My fears were misplaced – they were my idols and they are still exactly that – just more human and real. More alive. They showed humour, playfulness, pathos, grace, poise and a 3 dimensional beauty that was at times breathtaking in both the perfect detail and also the balance and flowing improvisations of the moment.

But what moved me by far the most was being taught by Chicho Frumboli. Even being in the same room felt like being in the presence of Tango itself.

Paradoxically I had thought he would be the least interested in the role of a teacher – but in fact it was the complete reverse. Before every workshop he would compose himself, reflect, and then start to speak in that low voice  – setting everything in the context of decades of his personal experience and in the history of Tango. He describes Giros from a milongueros perspective of containing within that sequence so much of what Tango has to offer – rhythm changes, dynamism, embrace flexibility – energy flows and rotating axis points – sacadas, reversals and level changes.

He has a deep, broody presence – creating an expectant silence as soon as he ambles into the room. Dark sunglasses, rock star clothes – he was a hard but fair task master as he walked us through the exercises and the various concepts he wanted to explain. He appreciated us when we concentrated – and made it clear when we were allowing old habits to rule our movements and not the purity of his teaching.

He seems to have the highest of work ethics – urging us to work again and again until we finally understood.

As he put it so well when we were all stumbling to achieve what he wanted :

There are no secrets in Tango – just hard work and practise

I have many images, thoughts and emotions to treasure from those 4 days. But one of the strongest was early evening in glorious low sunshine. I looked out of the studio window and saw the unmistakable figure of Chicho walking slowly across the empty  square, the ever graceful Juana by his side. They were moving away from me across the square and already in the distance – but as I watched I could still sense his heavy, weighted, bear-like presence and feel the ground under him yield to every step.

Such is the presence and pedigree of this man – if you can, find a way to be a student of his – even if just for a few brief hours. You will feel changed by the experience – and he will for sure remain an idol – but a three dimensional one.

What matters as an Intermediate Tango Leader?

I think it is fair to say that I am now an intermediate Tango dancer and not a beginner. Although these things are of course extremely subjective.

I have been thinking carefully about the 10 most important things that I have learned, processed, distilled and now want to focus my learning on – what really, really matters if I am to progress.

And I so want to move forwards.

1 Humility.

I put this as number one because I think it is essential that I personally continue to be crystal clear about the enormous amount that remains unknown, and how terribly messy I am about so many things.

There is literally not one single element of Tango that I can yet perform to an acceptable standard.

This is a source of inspiration not negativity, and I need always to be mindful of this.

2 It’s all about her.

Everything we do as leaders is for her. If I loose this focus then I am indeed never going to move forwards.

To give every woman the chance to be her best to every piece of music is such a big ask for a leader – but when we dance tango every single decision we make, every invitation, every moment – is for her.

Nothing matters as much as her comfort, trust, and creating opportunities for her to show how she wants to dance to this music – with me – right now.

I hope to learn so much more about this – and how to make her smile. It is such a wonderful feeling when she does.

3 The Music.

For the last year I  have been gradually  understanding what musicality is when we dance tango – this has been an inspiring journey.

As a beginner I thought I was in fact musical because I naturally had a sense of rhythm.

I now understand the enormous depth to understanding Tango music.

I have briefly experienced what it is like to dance with a woman who can loose herself in the dance but yet still be so clearly aware of – and able to respond to – every nuance in the music.

This for me is an enormous field of study that must be a foundation for further progress.

4 Moving from moment to moment.

We talk a lot about figures. They are such useful constructs and the best of them have been danced by wonderful milongueros for so many decades.

As I aspire to build on my abilities as an intermediate dancer being able to think rather on the level of connected moments of balance and imbalance, of invitation and response – is very important.

We need together to explore how we might – to this music – join these particular moments of beauty through space and time. Sometimes what we draw might correspond to a classic pattern – at other moments we might change, build upon and together even create entirely new figures.

5 Not being a big fish in a small pond.

It seems to me to be an unfortunate truth that if you are a leader in the UK and you have some modest level of ability you can indeed have the chance to dance with more experienced followers.

Although exciting this in itself creates a trap – I need to travel and to push myself.

6 Less is more

Another concept that as an intermediate we might interpret simply as pauses – but if I need to push on it becomes a whole new word of muscular control, technique and musical stillness.

7 Technique and Solo Practise

I amaze myself in that I have been shown the importance of solo practise, totally believe in it and yet do so little of it on a consistent basis. This simply must change if I am to become significantly better at controlling my own axis, balance, presence and listening skills.

8 Never, never teach.

I have been at times tempted to try to explain things to beginners, and I have seen other leaders do this. It is something I must completely avoid – as non-professionals we should simply offer sensitivity and a positive experience to followers with less experience.

Our well intentioned but amateur words can rarely help and have the power to cause a lot of unintended damage.

9 Great teachers

Stay the course with the great teachers that I have found.

10 Friendship

And finally – I think a lot about friendship. It is a wonderful thing to find friends, mutual support and individuals that you respect throughTango.

Enjoying their company, respecting them and helping them in their own Tango is positive in itself but also softens the challenging world of learning as an individual.

3 great steps from 2 wonderful milongueros

Inspired by a lesson on Pugliese with Kirsty here are 3 great steps that I have set myself the challenge to try to practise and get into my dancing  – for those moments in Pugliese where you need something wonderful.

El Pibe Avellaneda & Luna Palacios salon Canning

The first I am describing as a sacada with a lunged back cross – for want of a better name…

 

The second a side step then a shared axis turn, wraps and planeo

El Chino Perico

Paola Tacchetti yEl Chino Perico bailando el tango Tres Esquinas en la Milonga Del Moran ..

Wonderful control in a giro

It looks so simple – but look again, standard left foot behind in the centre of that giro but he exits so close to her – with his right!

So – it’s January – if any willing follower wants to practise with me over the next few months – beware! I shall be attempting the impossible!

 

4 products to help you use videos in your learning Tango experience

Nothing can beat lessons with quality teachers, practicas and those hard miles on the dance floor as we continue to try to progress at Tango.

But videos also have their place. For me increasingly so.

My old handwritten notes are useless – I can barely read them and if I do succeed it take a year to work out whose foot is going where – “to the left” – her’s or mine? “Forwards”? For who…?

Personally I combine clips with text notes in Evernote so they are always available from any device. I find small, atomic, tagged clips very useful indeed. So for example in one search I can find everything I have documented on my learning of the Giro.

I can watch teachers and professionals executing that one step over and over – I can compare that with videos of myself trying to execute the same figure. When combined with succinct text these can really help me to recall, absorb, improve and progress.

The videos can be grabbed from youtube or taken of yourself – a very useful learning tool indeed. But whatever the subject and from whatever device to make them effective as learning aids we need to work on them – and personally I have finally standardised on 4 great applications which I find really,really fit for purpose.

This took a while so I thought I would share them.

Normally we are working with videos to achieve these 4 main objectives:

Reviewing

There is little point in accumulating videos unless you index them and can see them whenever you want to. This means cloud based and mobile accessible.

For me I have chosen Evernote. Like many I used to think it’s support for embedding videos was terrible – but that actually is because if you try this on a phone it only shows you images from your camera roll – not the videos. You would have to email it to your Evernote email which is clunky.

But on a desktop you can drag a video into the note – and then it will appear on whatever device you use.

Screen Shot 2016-01-12 at 17.02.02

 

Make each note about a small aspect of Tango, have appropriate text from the lesson or your practice, embed a video illustration ( or more than one ), use tagging and that note is always going to be accessible to you.

Simple editing

We of course need to edit the initial video. Mainly I have learned to make a copy and then cut away at everything except the one part of that video that makes the point you want to learn. Long rambling videos about many things are not optimised learning  – they are just fun.

For editing I use Wondershare Video Editor.

Screen Shot 2016-01-12 at 17.09.28

 

This does far more than most of us need – separation of the sound from visuals, clipping, and easy exporting to any device compatible formats,.

Compression

This for me was the final piece of the puzzle that makes videos now so productive for me. If you record a 2 minute (ok thats long but still) video on a decent camera the video can be 30Mb – in terms of reviewing anywhere that is way too big.  Fine if you are at home  – Evernote would sync up over the wifi – but often we are in a bar, at a practica or on a train – desperate to share or remember – and it is just not workable.

This is where the geeks that created an open source product called  Handbrake ( https://handbrake.fr/ ) deserve two big thumbs up!

It is just amazing what this package does. Any video can go down to a third of its original size – and yet look even clearer than the original.

Like most things invented by technical enthusiasts it has a load of buttons and settings – but you can ignore all of them except checking the box “web optimised”and pressing “start”. A few minutes later it is all done and you can drag that output movie into Evernote knowing that you can truly watch it over 3G.

Screen Shot 2016-01-12 at 17.19.11

 

Playing them back while practising

For some of these videos – especially that latest figure – the trick is to be able to keep playing them back while you are practising so you can get it wrong, review it, try again and rinse and repeat.

For me an iPad is great here – just leave it on the sofa / bean bag and just wander over to look at it. But the trick is to find an app that really allows you to see what you need without dying of frustration.

This is where an app called Swift comes in.

What it does is to allow me to endlessly repeat between any two bookmarks, and with a slide of a finger slow down the speed. It is so incredibly useful – I can never be Chicho at real speed but maybe I can kid myself at 1/10th ??

Summary

So that’s what I use and it took me a while to get to this point. Now videos are always with me and always helping – they really do make a difference!

 

 

 

2016 – the year of the Music

This time last year I wrote that since I had almost been dancing for 2 years 2015 was going to be the year I stopped being frightened of amazing women.

Well that almost worked.

Now, fairly obviously, I have been learning Tango for almost 3 years. So what should I aspire to accomplish in 2016? On the one hand I can keep on trying not to be scared of amazing women – and that is totally appropriate. The more I try the more chance I will have of finally being able to relax and enjoy their skill.

Or at least breathe occasionally.

But recently I have been studying Tango music pretty hard, and working on musicality at every opportunity. This has become the focus of my lessons with Kirsty here in Brighton.

I am, to be honest, completely loving this. We only started a few weeks ago and the idea of dancing with an amazing woman for two hours does indeed terrify me. It is hard. So much more familiar to learn steps.

So much safer to be lost in that pupil role, and not have to make your own decisions, not to have to take any risks.

But I am now sure  that musicality has got to be the focus of my efforts in Tango for 2016. To study hundreds of songs across all the commonly danced orchestras. To work hard on Tango, Vals and Milonga, never ignoring any style.

We have a playlist of 6 sides for every weekly lesson. If I just continue that will be 300 songs I will have studied and danced to with a professional teacher and a beautiful, super scary dancer. That is 282 more than my experience so far.

When you attend classes to some extent the material is of course what the teacher wants to share with the group and you take what you can, absorbing it or rejecting it according to your current experience, where you are in your journey and the value you see in it.

But whatever material you are learning, whatever techniques, you can always think about them in the context of the music.

Increasing refinement and understanding of tango music will I hope add a huge level of enjoyment and pleasure to my learning experience.

And who knows – if I focus on the music maybe I won’t be so terrified of that amazing woman. I am a man after all – I can only think of one thing at once.

Tango – you took the red pill didn’t you..

So at some time in your life you saw tango, or someone mentioned it.

And without you realising the significance of that moment you made a choice. You decided to take the first steps on something that at the time you had no idea was even a journey. You were probably just curious – you may have felt some inner resonance – that yes – this is what you were missing in your life.

But in fact – as you now know – you were facing a choice so fundamental that your life would never be the same again. The physical world would change for you – what you needed to feel whole would take you to a place that would ask so many questions of you.

You chose Tango – or it perhaps it chose you – and you were about to find out how deep the rabbit hole goes.

You take the blue pill, the story ends. You wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in wonderland, and I show you how deep the rabbit hole goes.Morpheus, to Neo

So I just wonder – now you know what you know – a few years on from that moment – would you still choose the Red pill?

Crossing a New Frontier – When Tango Technique is at your service

Periodic reviews with a wonderful teacher who knows you and has taught you since the very beginning are so powerful. Weekly classes help with so many things as slowly we improve – but there is something quite different about working again with your teacher after a gap of 3 or 4 months.

I have benefited so much from this process. By coincidence when I first started I was booked on a holiday to Seville, and so I asked to find a teacher and started working with Joao Alves. And I have come back here every 3 or 4 months for the two and a half years that have now gone by.

joaodemo

 

This visit – which started yesterday – already feels new and fresh. Unusually I was asked to dance for half an hour – with the incredibly talented, good humoured and ever patient Rebecca – while he sat and made notes. Based on this he will set a plan for the lessons for the week. What he thinks is weak – what to work on.

This process in itself showed me so much progress. It was 6 months before I could get through a single song with anything that I felt even remotely resembled a dance, probably a year before I could manage a tanda and about 18 months until I felt it was really appropriate for me to go to a milonga and invite women to dance who did not know me. Now here we were – and I am dancing in front of him for over half an hour.

I stopped just once – and this in itself was a moment he did not like – so already a lesson is set – I must dance with him while he fakes moments where he gets my lead wrong – and I must adapt to his ‘mistake’ without for a moment breaking the dance.

But it was a conversation in the local bar after the lesson that made such an impression on me. He felt that there was a frontier now – that up till now I have been always at the service of the technique – trying to learn the technical structure of Tango – axis, balance, weight – the embrace, and of course the figures. Now he feels that for the first time the technique I have learned is starting to be at my service – leaving me to enjoy the music and feel such pleasure in the dance.

This is not to say that the journey to learn technique is over – far from it – I have of course only just started. But certainly he is right that there are so many whole tandas now where all I am thinking of is the dance itself, the music and the follower. Decisions of navigation, of what figure to dance next are pushed into the subconscious.

These kinds of  changes take these intermittent, periodic reviews to understand. We cross levels as we learn, and sometimes those step changes in ability are best seen from a distance, not in the details of daily and weekly lessons.

It also takes wisdom and authenticity from the teacher to say these things at appropriate times.

I have also noticed – and so has he – that there is a difference in energy, and that I am smiling a lot more. How fantastic is that – to enjoy such a beautiful dance for exactly what it is – a chance to express emotions and feelings in the music using a structure that you are confident in and excited by.

It is – absolutely – a dance.

Destroying and Rebuilding my Tango Embrace

I am excited. I am worn out. My back hurts, my arms ache. My hips  feel weird. I am trying to breathe with my back. This is challenging stuff that requires hours of patient practise and analysis. For months and months – if not years.

It is a lovely sunny day out there in Hove and while the world is on the beach or outside busy bars, I am sweating away by myself in my front room.

Why?

Because some wise words that have been repeated over the years have finally, finally sunk in. As a leader the embrace is pretty damn important – and I have put mine under the microscope and found it sadly lacking.

I recently started using videos of myself dancing – which has been wonderful – and now I have taken that concept one more dangerous idea further forwards and started to freeze the frames.

Oh dear – so that is what I actually am doing, that noisy, constricting rubbish is what I am giving to the follower to express herself within. She absolutely should fire me.

And so here is one such frame, from a social dance with a talented  follower – I am just so ashamed. The video as a whole looks fine , but break it down, freeze it, and this is the rubbish I am actually giving her to work with :

Hunched embrace

 

She is looking beautiful in that dance not because of me, not supported by me – but because she is talented. There is simply nothing to say about my posture in this frozen frame that is anything other than a complete condemnation :

  • Head forwards
  • Hunched shoulders
  • Waving hand
  • Open Hand
  • Weight all over the place
  • Elbows not in front giving her no space
  • Shoulders Tilted… I could go on….

So I have been ignoring the rare sunny day out there, I have been sweating, everything is screaming – but I have been trying to create something like this:

 

new embrace

Two inches taller, hips slightly back into a true neutral, frame solid and quiet, chest up and expansive and forwards – head brought forwards only by the inflation of the embrace and still out of the way. Everything offered to the follower as her complete prerogative to how she would like to use it.

Maybe its easier when its raining outside?

Don’t be silly – this stuff is never going to be easy. But I am quietly optimistic – I have great teachers and maybe with their help I can destroy and rebuild so that I can go forwards on the kind of solid foundation that followers might enjoy – it is all about them, and the music – maybe a few more months and I can at least stop holding them back and allow them to express their beauty and individually in this wonderful dance.

 

 

 

 

Ocho Cortadas, Pivots and the Americano

A fantastic combination shown here for D’Arienzo – short steps.

 

 

 

Original Notes

Ocho Cortada to cross then pivot and lead forward to another Ocho but now turn her hips in the Cortada and out Americano. Lead is left behind and knees together just before she comes across from the Americano.

Then Giro with touch my left on her foot, then point right then pivot and left with right foot behind and on toes – then back.

Exit is back right – sneak – back right gain.
Learning Notes

The musicality is wonderful.

Give plenty of time on that Americano and across.

The

Teachers

Maximiliano & Juliana

Location : Sussex, UK