Critical Thinking

‘Critical Thinking’ is required to improve your dance.

Honest.
Dispassionate.
With extreme prejudice.

First and foremost, what is ‘Critical Thinking’. Webster’s Dictionary defines it as: “the objective analysis and evaluation of an issue in order to form a judgment”, and that’s just about right. However, when we apply this to Argentine Tango the definition gets even more refined:

“the objective analysis of one’s movement, foundation, vocabulary, and musical interpretation, as well as the evaluation of an area of concern in order to form a point of reference towards changing something, or how something is done to make it visually appealing, and/or kinesthetically desirable from a physiological perspective.”

This is Critical Thinking as it regards Argentine Tango.

But what does any of that actually mean ?

First and foremost it means that you must look at, and then slow down what you are doing, using video to review, then analyze your dance from every aspect, your walk, your turns, your embrace, your posture, your head position, your hand positions, your fingers, how you’re placing your feet on the floor, how they’re landing on the floor, what part of the foot you’re landing on (not just heel or toe), are you stable, are you balanced, are you hanging, are you pushing, are you pulling, are you compressing, are you using or employing force, tension, and/or resistance ? Secondly it means that your internal analysis must be honest, and without prejudice towards you thinking that you’re doing better. There is always a bit more that you could be doing. And lastly, This is really about self-honesty. If you end up feeding yourself a delusion of where you’re really at then you’re defeating the whole purpose of study in the first place.

Truthfully this is asking questions and seeking answers. It is only through the detailed examination, as hard as it may be, as honest as it may be, that you can and must change your dance. This is only a piece of critical thinking. The part that most people hear in those questions above is the  criticism. That is not critical thinking. Critical Thinking requires self-criticism. It requires that you show up, look at what you’re doing and say “Is all that there is ? Can I be doing this better ? More economically ? More effortlessly ? Am I pushing too hard, am I pushing ? Am I compressing ? Am I stable ?”. Note that this is all focused on the self, and NOT the partnership. It’s not blaming or shaming or directing the areas of concern at anyone else except yourself. Critical thinking requires a deep analysis of your skill set and then actively seeking a better way to accomplish the same goals without so much damned body contortion or work. If there’s pain, and/or pressure of any kind, then that’s less than desirable.

MORE REMINDERS

Going to El Corte ?

The words "El Corte" translated to English from Spanish literally means ‘Cut, Court, or Edge’. However, in the Tango world the word has another meaning: Nijmegen, The Netherlands. What’s in/at Nijmegen ? A dance studio of certain renown: El Corte! Think of El Corte as one of your GoTo destinations. Assuming you want to experience a quality of dance in an environment that is at once fun, and at the same time entirely engaging on multiple levels. Caveat: You do need to have your sh*t together if you visit, while at the same time you must be willing and open to a whole different way of looking at the dance (again, on multiple levels).

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The Negative of Tango

There is distinct negative side to Tango. Ask anyone that has done any level of work to improve their dance, and they’ll tell you that it is at once eye opening, again blistering, noxious and wholly demoralizing. Demoralizing to the point where they want to quit dancing altogether.

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New York

Our little summary of dancing in New York City for the World Traveler that will be landing in NY soon and looking for some place to dance.

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Follower Bashing

All too often a good portion of Followers get the short end of the stick as it were. They’re blamed for missing this or that, not having enough resistance (a major no-no), not pushing, not leaning enough (false apilodo another major no-no), not stepping in the right place, not keeping up with the lead, etc. They’re blamed for a host of things from walking, to musical interpretation. After a while they develop a complex of just taking responsibility for almost everything that happens that isn’t desirable in the dance, instead of the Lead taking rightful responsibility for what’s been led! This is known as ‘Bashing The Follower’.

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Cake!

Should you eat before, or after a milonga, or not at all ? Some people say “before, so that you don’t get hungry during the milonga”. But then they complain that they can’t move as freely. Some people say “After! Because I’ll be ravenous”. But then these same people quite factually ‘grumble’ (meaning their stomachs are growling because they’re hungry) while they dance with you. Some people are in the ‘not’ at all category! They can seemingly contain their exertion and not require sustenance before, during, and after a milonga.

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Magical Improvement

“She’s not magically going to improve just because you ‘show’ her what she’s supposed to do at that moment.” To make this non gender specific, because this axiom applies to both genders, and both roles. As well as teachers and students. Some teachers know this truth, some teachers learn it the hard way. Clarity: The – “supposed to do” part above. This idea frequently occurs where you have a male Lead that has an expectation of X being followed properly, where X is Traveling Ochos, Volcada, Milonguero Turn, etc. And when it doesn’t they stop their dancing and then show the Follower what was intended. And here’s the magical part, they keep showing them, hoping that it will change the Follower’s behavior and frequently it doesn’t.

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Discipline

Ballet dancers know all too well that a good dance teacher is strict, hard as a nails, and won’t let you get away with anything. While it may be hard on the body, and hard on the ego, the fact is that dance teachers like that are a godsend. However, the teacher is only one component to the educational process.

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The Bloody Toe

The fact is that while open toed shoes can be lovely to look at, they have a practical downside that no one likes to talk about – one wrong move and you’re lookin’ at a serious injury!

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Keep something in the back of your mind: What you’re seeing in a youtube video is a couple that is performing for the 15th row for a room full of people. They’re not social dancingWhereas this website is all about ‘Social Tango’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They are showing you flashy moves as a presentation, to show off! But not stopping and talking about how this works which is what you need to see. This website and all of it’s content show you the how and  why you’d want to put that piece of vocabulary there, or how to make things work. This website is all about those things and more!

You could watch Tango YouTube videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

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Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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