Tango is not only a fascinating dance, but also a fascinating philosophy, culture, and lifestyle. The pursuit of tango is the pursuit of connection, love, unity, beauty, harmony and humanity, i.e., an idealism that is not consistent with the dehumanizing reality of the modern world. The world divides us as individuals, but tango unites us as a people and species. In tango we are not individualists, feminists, nationalists, liberals, conservatives, Democrats, Republicans, etc., but interconnected and interdependent members of the human family. Tango calls us to tear down the walls, to build bridges, and to regain humanity through connection, cooperation, reconciliation and compromise. It is a dance that teaches the world to love.
November 29, 2013
Men's Common Mistakes in Tango
1. Not listening to music
Some men do not dance to music because they do not know how to listen to tango music. (See The Characteristics of Classic Tango.) Others because they are so focused on doing the steps that they cannot hear the music. The former is a problem of musicality. The latter is that of attention allocation. Dancing tango requires the ability to allot attention to many elements simultaneously, including embrace, connection, posture, step, partner, coordination, relaxation, decoration, music, etc. Among these listening to music must be the first priority, because dancing tango is dancing the music, not the steps. The latter is but an expression of the former. In leading, the man must first pay attention to the music. He must not only think of the steps that he is leading and forget about the music.
2. Leading difficult steps
Some men like to lead steps that are beyond their comfortable zone, which require so much of their attention that they become heedless of the other aspects of the dance. Beginners often mistake difficulty for beauty. But in fact one has nothing to do with the other. On the contrary, keeping the steps simple will be easier for the dancer to allocate the attention, listen to the music, relax the body, perfect the movement, and enjoy the relationship. Unlike stage tango that features performance, social tango emphasizes the feelings and the communication between the partners. Therefore, simple steps are more suitable. To dance social tango with difficult steps of stage tango could easily backfire. (See Social Tango and Performance Tango.)
3. Leading with hands
Many men lead with hands for various reasons. First, one's long-standing habit is hard to break. Second, it's easier to lead with hands than with the torso. Third, with the help of hands it is facile to do steps. Forth, many women prefer dancing in open dance hold, leaving men little choice but using hands. Fifth, beginners often see tango as steps rather than relationship, feeling and music interpretation, although the opposite is closer to the truth. (See Tango Is a Feeling.) Finally, in order to teach steps, many teachers encourage students to use open embrace, which reinforces the habit of using hands. However, using hands to lead conflicts with the essence of tango, that is, intimacy, sensuality, comfort, oneness and synchronization. Tango has been from its birth a dance of close embrace and torso leading, which distinguishes it from other partner dances. For the man, learning tango is primarily learning to lead with his torso, that is, to effect the movement of the woman's body with his body, not his hands. Beginners must overcome the habit of using hands, and develop the ability to lead with the torso.
4. Mixed signals
The problem of hand leading is that it often contradicts the body. Those who rely on the hands usually do not know how to lead with the torso. When their hands put forth strength in one direction but their torso does not move or turn accordingly, that sends mixed signals. The fundamental solution to the problem is to supersede hand leading with torso leading. Arms and hands must be completely relaxed in leading and used only to form a supportive frame rather than to coerce the woman to submit. Unawareness of the function of the torso often causes the man to lead with his hands when his weight is not completely transferred from one foot to the other. But, since the partners are connected, the incompleteness of his weight change means that she, too, has not yet completed her weight change. Asking her to take a step in that position is demanding the impossible. She must first complete her weight change before she takes the step, resulting in the incoherence of the dance. Such errors caused by using the hands could be avoided if the man uses his torso to lead. (See The Functions of Various Body Parts in Tango.)
5. Bending over
I stress leading with the torso rather than with the chest because the entire upper body is utilized in leading. Using the chest to lead could cause a tall man to bend his torso with his buttock sticks out, which not only looks bad, but also adds pressure on the woman, causing her to bend backwards. The correct posture is to keep the body upright and tall. In order to maintain an elegant posture, a tall man should use his stomach rather than chest to lead a short woman.
6. Bowing the head
Many couples stick their cheeks together in tango to enjoy the intimacy. However, if the man is much taller than the woman, this could cause him to bow his head, curve his torso, hold his chest in, stick his buttock out, and bend his knees, which not only look awful, but also add pressure on the woman. A tall man and a short woman would be better not tango together. If they choose to dance together, then the woman may rest her head on his chest, but the man should not bend over his head to meet her head. Rather, he should stand tall, keeping his torso upright, chest out, head up, and knees straight.
7. Coercing the woman to submit
An immature leader may think of follow as unconditional surrender and obedience. But the surrender and obedience in tango must not be unilateral, but mutual. Tango is an intimate, complimentary and harmonious relationship. Both lead and follow must be empathetic, accommodating, thoughtful and comfortable. To lead is not to coerce, but to guide, support, collaborate, adapt, protect, and help the woman to unfold her skills and beauty. Just as the woman should submit to the lead, the man, too, should submit to the need of the woman. There must not be any coerce in leading.
An inexperienced man often thinks from his own perspective and fails to take into consideration the balance, axis, time, space and support that the woman needs in her dancing. Examples of his self-centeredness include taking care only of his own balance and overlooking hers, leading her to make a step when her balance is not yet in place, letting her rotate on a tilted axis, leading her to move but blocking her path, not giving her enough time to finish her step, leading her do things beyond her ability, and so on. Such could cause her to feel coerced and uncomfortable. The man must think from the standpoint of the woman and constantly adjust his own position, embrace, axis, weight, speed, movement, lead, etc., to adapt to her needs and facilitate her movements, so that she can dance freely. (See Self-centered Leading and Partner-centered Leading.)
9. Not giving her enough support
Letting her dance freely does not mean letting her dance alone without your support. An inexperienced man often just sends a signal and then waits for the woman to follow, but fails to provide the support that she needs in her movement. In fact, such support is crucial because she is leaning on you. If you withdraw your support, even if you lean back only slightly, that could cause her to lose balance and compromise the quality of her dance. When she moves away from you, you have to move with her to maintain your support for her. When she moves into you, you have to retreat while not lose the support for her. Otherwise, she will feel falling away.
10. Overlooking ancillary actions
The lack of understanding of the structure of the movement is another problem of a beginner. Most steps in tango are not composed of only one action, but a combination of several actions. For example, dancing ocho from the crossed position includes five actions: unwinding the leg, taking a forward step, swiveling the hips and pivoting, taking another forward step, and swiveling the hips and pivoting again. Thus the entire sequence needs to be led in five action steps. If you do not break down the sequence and attempt to bring out two actions in one lead, that will make it hard for the woman. Beginners tend to focus on the main action and overlook the ancillary action. For example, the man may directly lead the woman to take a forward step without unwinding her crossed leg first, or lead her to make a forward step when she is yet to complete her hip rotation.
11. Lacking of sophisticated musicality
The tendency of overlooking ancillary actions is reflected also in the beginner’s handling of music. The musicality of the beginner is often raw and untrained. He may be able to identify the rhythm and lead the woman to step on the beat, but his handling of the ancillary actions is often crude and unmusical. Still use the example of ocho, in which the beginner tends to focus on the main action, i.e., the forward step. Once a forward step is made, he immediately moves on to lead the next forward step. While both steps may be led on the beat, the transitional action between the two steps, namely pivot and hip rotation, often is led without smoothness. Such lead cannot satisfy a mature follower who wants the leader to handle all aspects of the entire sequence in an exquisite way that every detail of the sequence meets the rhythm, melody, speed and mood of the music perfectly. Only in such a fashion dancing tango becomes a real treat.
We sometimes see men short of good taste use their partner as a foil for their own self-display. Such men have invented more and more exhibitional steps for themselves, showing off at the milonga and drawing eyeballs to their performance. In my view that is a bad trend in tango today because it is in contradiction to the essence of tango. A man does not need to compete with his woman partner for attention. On the contrary, his job is to display her beauty. Instead of drawing eyeballs to himself, he should focus on making her feel pampered in his arms, shining her, and letting her be the center of attention. A leader's maturity is measured by how his partner dances, not by his own exhibition. (See Self-centered Leading vs. Partner-centered Leading.)