Monthly Archives: June 2010

Hugging Technique

Tango is, without a doubt, found in the music and the embrace.  It is a dance of the people – for the people.  We understand that and we only truly learned it and understood it after 8 months of living (and inhaling Tango) in Buenos Aires.  We also understand, as people who have danced the majority of their lives, that having good technique only enhances one’s Tango.  There is no debating that having better posture and good balance are going to make the dance feel better for both yourself and your partner.  Having “perfect” feet – well, that isn’t so important.

In Tango, we can all understand that the embrace is a hug and that we’re giving our partner a hug that lasts a whole song.  However, it has been assumed by some that there is no technique to hugging and people don’t need to learn how to hug.  If students need to learn to walk (and they do), hugging (which is something they do far less than walking) is definitely going to have to be taught.   If you think that hugging and walking are easy for Tango students, go observe a beginner class to see how the majority of students end up walking on bent legs (something they didn’t do before arriving to the class) with their hips and feet leading the way.  But this is a topic for another time.

We previously wrote about the “Culture of Touching” that exists in Argentina and how living in a country that does not have this type of physical interaction leaves many at an “embrace disadvantage”.  There is a reason that many people mock the North American hug with its minimal touching.

This might be a bit of an exaggeration…

We have been the recipient of innumerable awkward hugs (in and out of Tango).  Hugging may be natural, but it is NOT normal or comfortable for many people.  We have been given crushing hugs, limp hugs, half hugs, and soulless hugs (to name a few).  The truth is, many people DO need to learn how to hug – especially how to give consistent hugs in Tango to friends and strangers alike.

Too Much Talking

The most important aspects of Tango were learned while listening, not while dancing.

A common complaint from Tango students around the world seems to be this: “There was too much talking and not enough dancing.”  During group lessons and private lessons, people just want to dance.  We get it.  However, we also think it’s safe to say that the same people who complain about too much talking are also the same people who are fixated on steps.

The most important aspects of Tango were learned while listening, not while dancing.

Graciela Gonzalez teaches an incredible workshop for LEADERS.  She is well known for her workshop for followers, but the one for leaders is quite special.  There are opportunities to practice the concepts taught, but it is the explanation of these concepts (hence a lot of talking) that are the most important.

Our most dramatic Tango-changing moments happened when teachers in Buenos Aires were TALKING and explaining the concepts, history, or culture of Tango to us.  That’s not to say changes didn’t occur while dancing and practicing, but the biggest changes… those happened while LISTENING. Unfortunately, people see classes as the only place to practice.  Instead students should learn/understand the concepts (listening), try the concepts (a bit of practicing), practice the concepts (in a practica), and finally embody those concepts (in a milonga).

Copycats and Being “Unique”


This intro comment is going to confuse people slightly:  We’ve had our fill of hearing how everyone should learn and discover their “own style” of Tango.  “Be unique”, “don’t copy”, etc, etc.

Please read on:

Back in the good old days in Buenos Aires there were plenty of dancers to watch and learn from.  It was possible to absorb bits and pieces (aesthetically, technically, etc) from multiple AMAZING dancers.  No one went to a class with ONE role model; the milongas with all its dancers were the role models.

How is a student supposed to do that now?  Especially a student outside of Buenos Aires? All one can do is look to their teacher as a role model and (consciously or not) copy them in the beginning.  Only after years of dancing and feeling at peace with the dance can one begin to take an individual path.  Otherwise, dancers end up spending more time trying to look “different” and “unique” instead of actually dancing nicely with their partner.

The whole idea of finding your own “style” is quite ridiculous to us.  Firstly, we dislike the word “style”.  Ultimately, you can only  truly dance who you are – you can only dance “you”.  So if “style” means the way you stand, embrace, tilt your head, etc. (i.e., the external package), we repeat:  ridiculous.  There will be copycats, but you will see it right away when there seems to be more effort in replicating favourite steps rather than just dancing.   It will probably look soulless or forced.

Here is a very recent example of what copying looks like.  There is no denying that this couple (especially the man) is dancing someone else’s dance and not their own (and we all know whose dance it is):

This is an unfortunate example of how trying too hard to look and dance like your role model results in a completely unoriginal and soulless dance.  There is plenty of talent here, but it has been severely sacrificed.

Some people claim to have their own “style” – simply because the outer package looks different – but these same people (international and local dancers alike) are the ones you see doing Javier’s “moves”, Julio Balmaceda’s “moves”, Gabriel Misse’s “moves”, Osvaldo&Coca’s “moves”, or any other “youtube” move, one after the other.  That is far more average and dull than the people who may have similar postures as their favourite dancers, but actually dance their own dance.

It is the responsibility of a Tango teacher to teach proper technique (i.e., providing students with natural and comfortable postures and movements) so that partners don’t hurt each other or themselves.

It is the responsibility of a Tango Teacher to teach the concepts of Tango (i.e., embracing fully, taking care of the woman, dancing with masculinity/femininity, etc).

It is also the responsibility of a Tango teacher to teach the culture of Argentine Tango (which includes the music, the codes of the milongas, and more).

Withholding any of these or expecting your students to find them on their own is a sign of neglect and makes us wonder if these teachers even like Tango (and/or teaching it).

ANALOGY: Dear student, we want you to learn the Finnish language.  We won’t tell you what real Finnish language is, instead we’ll let you find it on your own.

Good luck with that ;)

Dissing Good Posture?

We’ve all seen these “poor” postures in Tango.  We usually refer to them as the “E.T. head” and the “Leg Humper”.

Having good posture in Tango often translates into looking elegant.  We are often told that we have nice posture and dance elegantly. But honestly, this is not something we try to do.  It is something we are.  With a background in ballet for K and years of ballroom training for Jorge, good posture and elegant movement are just part of the package.

We find it interesting to note that young tangueros tend to be dissed for having good posture.  You won’t hear milongueros being dissed for their good posture.  Milongueros such as Jorge Garcia, Nito Garcia, Gerardo Portalea, to name a few, stand straight and look great!

Perhaps then, you can understand why attempting to change our posture in Buenos Aires was something we did not like and decided against.  We tried it for a few months and realized it simply was not working for us.  We did change a lot about our posture, but we did so following our Maestro’s advice in a way that only enhanced our dance.  What happened (and it was an exception) was that a milonguero we love and respect wanted Jorge to hunch/bend over and the both of us to really bend our knees.  To this milonguero, bending over and bending knees is where Tango is found.  Unfortunately, it’s not where our Tango could be found.

On a purely aesthetic level, picture two thin individuals who reach 5’11 (once shoes are on) bending their knees a lot and hunching over.  Add to that a “v-embrace” with a slightly open head for K.  Keep in mind we are the same height with heels on so the result is that our heads get in each others’ way.  Add to that K’s lack of chest “endowment” and the result is a lot of space between our chests. Since our heads are in the way, it creates extra inches between our chests, but the lack of “boobage” means we are no longer touching chests unless K arches her back!? We promise you, it is not a pretty site (or a comfortable embrace for either one of us).

People everywhere are dealing with the results of having bad posture in everyday life.  It’s not a surprise that many of the problems dancers deal with in their dance are a direct result of having bad posture (ex: balance issues, sore backs/necks/etc, difficulties walking with a partner, etc). Why would anyone purposely teach people to Tango with bad posture?  Or why would teachers, especially teachers with an understanding of the body, allow their students to continue dancing with bad posture without correcting it?  One answer we’ve come across is that teachers want to let students find their “own” Tango.  Now that’s just crazy.