LIstening (Following)

There is a belief that Following is really easy. It’s a snap. Most male Leads believe this fantasy because the better Followers that they’ve had the pleasure to dance with are really easy to lead (the action, not the person) so therefore it’s just easy in their minds. It’s effortless. Until they do the job themselves and then it’s all hands on deck and they realize that what they thought was easy is not easy, it’s hard work. All of this is made even more challenging by the 3 facts: 1.) The Lead’s embrace is usually constrictive, and restrictive, compressive, and sometimes even painful.  2.) The Lead’s choice of vocabulary is usually something that is rushed, poorly executed, and usually too rough on the Follower.  and 3.) The musical execution of those vocabulary choices. All 3 of those things have to work while the Follower’s technique must be sharp, clean, clear, elegant, and seemingly effortless. 

Following is not easy, not by any stretch of the imagination. One thing that makes the job very challenging aside from the 3 things above: Listening. This is not listening as in auditory sound, but rather in feeling. The tactile pressures of the physiological contact of skin to fabric or skin to skin in all of 5 of the major contact points of Argentine Tango. a.) Hand to Hand. b.) Arm to Arm. c.) Hand to Spinal Column. d.) Arm to Back. and e.) Torso to Torso. In all 5 of those contact points the Follower is listening, feeling, for minute changes in physiological pressures to ‘hear’ or feel an indication that X is going to happen.

Frequently, however, they are pushed, pulled, compressed, forced really to do X, Y, and Z when they’re not moving from a stable position, so ‘hearing’ anything at that point is nearly impossible as they’re just trying to survive not falling all over themselves. 

MORE REMINDERS

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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The Birthday Song

The Benefits of a Birthday Song. There are a few, but important, benefits to having a Birthday Song for one or more people at the Milonga. 1.) From an organizational position, the Milonga Organizer can use this as a way to advertise the weekly Milonga. "It’s Miles’ Birthday, Come and Dance with him into the wee hours!". That sort of thing. 2.) It’s a way for the Community to come together and support one of their own.

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Physiological Control

Control is a really hard thing to get. It takes a while to have precise, or precision, control over exact foot placement, which is insanely important. It takes time to build up the necessary minute control that one needs to have over one’s body. A millimeter here, a millimeter there, cumulatively, can make all the difference between a dance that sucks (for both parties) and one that is absolutely fabulous. Precision control is where all the toys are at.

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The Talking Cabeco/Mirada

If you’ve been dancing a little while, or for many years, at some point along the curve you’ve heard the word ‘Cabeceo’. Which roughly translates as a slight nod or nodding of the head (Cabeza) for the Lead to invite a Follower. The Follower’s side of that same invitation is referred to as a ‘Mirada’ (to look at, or ‘looked’). It’s an oddity that almost no one knows about the Follower’s side of the equation, that the Follower can ask for a tanda, employing the same methodology. It just has a slightly different name.

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The Shoe Lip

Today’s Tango Thought is a bit of Tango minutiae that seems unimportant at first, but is in reality very important actually. It is an awareness that can help you to understand why certain kinesthetic instabilities (regardless of gender) exist: A fair number of street shoes, male or female, have a thick hard leather construct known as the ‘Sole of the Shoe’. The Sole serves several purposes, one of which is to protect your feet from harm, still another (which relates to today’s thought) and secondly it’s what we call the ‘Shoe Lip’.

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The Follower’s Molinete

Typically referred to as ‘The Molinete’. This is the ubiquitous turn that everyone uses, even though there are 7 more that are equally as useful, it has the default turn for most dancers. The part that you should pay attention to is the second word in that phrase, ‘Follower’. This is Follower specific vocabulary. There is a Lead component to it, which is called a ‘Giro’ (translated from Spanish to English it means “I turn”) , but this is really all about the Follower.

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Compression

Compression’ means that you’re either pulling your partner into you and/or at the same time restricting their movements in a myriad of ways (hand, arm, head). As a Lead this typically manifests itself with your right forearm. As a Follower compression is typically done with your left forearm around your lead’s shoulder (tsk, tsk, tsk, it should not be there).  

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Couples

Couples, as a pair, develop their own shorthand for communicating with each other. They remark on events in their time together as ‘that time we did that thing when that thing happened, remember ?’. They invest their emotional time in each other as caring, loving (hopefully), partners that genuinely are invested in each other’s successes (hopefully). In one respect they are to each other intimates, while at the same time they see each other as support mechanisms, and so much more.

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Tango Reputation

No matter how hard you try (positively or negatively) you’re going to acquire a ‘Tango Reputation’. Meaning ? How you engage socially, how you dance, who you dance with, how ‘good’ you are, how often you dance, if you teach, where you teach, who you teach with, whether or not (if you teach) you dance only with your students or with others, if you teach others while dancing (tsk, tsk, tsk), whether or not you dance milonga, how good your milonga skills are, whether or not you lead and follow or not.

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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!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

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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