How many steps does it take to be good at tango?

"How many steps does it take to be good at tango?" Was a question I asked myself when I first went down this road. Coming from a ballroom background, it made perfect sense to think this way. You see, in the ballroom world, dance progression is linear. You go from Bronze, to Silver, to Gold levels. It's like school. You're taught the steps first, then somewhere along the way, you get taught technique—with more payment and classes.

Confusion of thought & technique

With that preconceived notion, I was trying to learn under what (I thought) was proper. It amounted to learning all the steps I could memorize. Thinking and operating that way felt safe. It felt gratifying. I could count the steps I learned (or thought I did), and racked them up like trophies. I thought it was good value for what I was paying. I was, a "Step Collector."

Failure of delivery

Armed with a repertoire of steps, I braved the milonga floor. Frustration and disillusionment soon followed. If you remember, I had a post called, "End results—Her tango look." How my partner looked after the tanda was my guage on how I did. It was my report card. To my surprise, their faces had the look of "Relief" on them... relief that the tanda was over. I was (in effect) throwing them steps in my arsenal and putting them into a state of confusion, terror, bewilderment, etc. Whatever it was, it was unpleasant for my partners. I also thought that I got turned down way too much. I had to diagnose the problem and figure something out.

Step realizations

Despite my vast and advanced "Step" knowledge (ballroom paradigm) I don't think it was happening for my partners, thus neither for me. "What was I doing wrong?" I asked myself. I decided to watch the floor and the more experienced leaders. I watched those who were considered to be really good leads and wondered... Why?

It dawned on me that these admirable leads only used around 4 to 5 recognizable steps or patterns, perhaps and extra embellishment here or there. Other than that, that was it! It wasn't the amount of stuff they could do that mattered, it was HOW WELL, they did the few things they executed.

Shifting to focus on technique

Knowing of my folly, I embarked on a new paradigm of learning Argentine Tango. Concentrate on the technique, first and foremost. Instead of learning steps, I learned to DELIVER the steps. This was my "short list" of things I needed to work on:

1. Find my center of balance: Be able to move without knocking my partner over, nor falling all over myself
2. How to land my feet: Landing, shifting weight, stepping, pointing as smooth as possible
3. Weight changes: How to lead by shifting weight, rather than muscling through a movement
4. Leading with the "Core" (chest): Leading movements with the ONLY point of contact that matters... The chest
5. Intention and commitment: I had to develop the confidence to make something happen. Anything tentative would have gotten lost
6. Smoothness: Take all of the preceding, combine them, and try to make them work together as smooth as possible

This was my short list. There's so much stuff that went into them that they seemed like blurs.

I tried to make my tango as simple as possible—just done well. Which in my experience was even much more difficult than just learning steps.

So how many steps do you need to know? My answer is: Not many. Just deliver them very, very well.

I write this blog...

I write this blog because this tango journey of mine has taught me so much life experiences that has brought so much value to my life. Great friends, lovely memories, an art form that I can be reasonably good at, food, wine, a rich social life, etc. All of them things to cherish and relish.

I write this blog to share my experiences from the dance floor. Because, tango is such a beautiful thing that maybe someone, somewhere, somehow will be encouraged to check this tango thing out... and get hooked.

I write this blog because tango is one of the most difficult and (simultaneously) beautiful hobbies I have ever indulged in, that I thought there should be a record of it somewhere.

I write this blog because, as a leader, my learning process has been long and hard. I want others to avoid the mistakes I've made.

I write this blog because I want to add value to a leader's skill-set. Not because I care for the leaders, but because I care for the beautiful followers who have to put up with us. The better we lead, the better the followers' tanda.

I write this blog dear friend, amigo, ami, tomodachi, tovarich, and kaibigan, so we can all learn from each other and spread the dance and the skill of this wonderful tango experience to others. We need more, and better leaders on the milonga floor. There is not enough of us.

I write this blog as a thank you for my heavenly tango partners who have allowed me the privilege of a tanda. Without you, I am nothing and "Tango" is just a word.

"Thank you" for my very special tanguera

I was at my favorite milonga this weekend. As I briefly watched the floor, a thought just dawned on me...

I have had the pleasure of dancing the tango with you from the very first time you set foot on a milonga floor, up to the present day.

I have felt your progression through your first ever dance. I've felt your development as you went from teacher to teacher. I've felt your progression from my bearing your full weight, to you finding your own balance. I've felt you evolve from being a heavy stepper to walking as if you were on rollers. I've felt your brain tick as they you try to figure out what was being led, to seemingly mind-melding and responding with instantaneous responses. I've felt you go from a nervous, sometimes terrified hold to an embrace only a consummate tanguera can do. I've seen you go from a wallflower to someone I can no longer get a tanda with because someone else always cabeceo's you before I.

To you, I thank you. I thank you for hanging in there and suffering through the effort and time it takes to be good at tango. Thank you for being there. Thank you for growing. Thank you for being beautiful in soul and movement. Thank you for being a beautiful tanguera.

Thank you for still wanting to dance with me.

End results—Her tango look

One of the best indications that a woman is having a wonderful time at tango is her facial expression during the tanda. Some look like they're in a trance, some wear a smile, some are in a sublime and heavenly place.

When women are having a NOT so good time, her expressions will be in stark contrast. She looks bewildered, shocked, confused, annoyed, and sometimes, upset. A myriad of emotions, other than happy. Instead of enjoying the tanda, she's trying to think, analyze, compensate, and figure out what the lead is trying to do.

She needs to FEEL you

Improving one's leading technique increases the chances of your partner's fulfillment during the time spent with you. The lead needs to be unmistakeably clear, concise, deliberate, and vibrant. You need to tell her (without words) what you want to happen.

She needs to understand what you're trying to do without vagueness and ambiguity. You shouldn't talk—She needs to feel you. You need to convey your thoughts, wishes, and intentions with the language of your body. At the same time maintaining balance, fluidity, floor craft, navigation, and musicality. She needs to feel that you care, are confident, and that you will protect her.

When a woman wears facial expressions of apprehension...

• The tentative & hollow lead = Her frustrated look

This happens when the lead is not quite sure of what he wants to do. The leader's lack of confidence is manifested by fizzled leads. He starts something, becomes tentative, the movement fades. The follow snaps out of her concentration and wonders, "What's next?" This causes lapses on concentration on both sides. When the leader does decide to continue, he catches the follow thinking, and an awkward close embrace collision occurs. If this persists throughout the tanda, it becomes extremely frustrating for the follower.

The leader who does NOT use his core as the source of the lead, tends to generate the same frustrated look from her, as the lead dissipates, it causes her to wonder, "Where did you go?"

• The no-technique-step lead = Her baffled (and panicked) look

This type of leader creates a mental and physical challenge for the follow. Especially, when the lead is obsessed with fancy footwork, patterns, and moves while lacking a fundamental understanding of basic technique. The follow gets knocked off her axis and muscled and/or forced into doing goofy stuff. It feels awkward, contrived, sometime dangerous.

"What are you doing?" is the question written on her face.

• The band conductor lead = Her look of annoyance

Followers look annoyed with leaders who dance as if they're conducting a band. Their shoulders pop up and down with their arms pumping with the beat. They generate so much body noise that it obfuscates whatever it is they are trying to lead.

• The wrestler lead = Her shocked look

Several followers have told me that this is one type of people they really don't care for. This happens when the lead heaves the woman around like a sack of potatoes. It hurts them, it shocks them, and is not pleasant by any means.

• The creepy lead = Her terrified look

Several follows have asked me to help them avoid several people before. Because, according to them, "They're creepy."

Their practices of malevolence goes from stroking, roving hands, squeezing, licking, and a lot of other things which infuriates decent tango dancers.

Tango is intimate enough as it is, and these behaviors are simply inexcusable.

Trying to achieve her look of "Bliss"

I would like to kindly refer you (dear reader) to some of my older posts as reference. My blog is all about the leader's steady improvement down the path of making it "All about her."

Her sublime tango look

Pictures courtesy of the masterful eye of Paul Yang's Seattle Tango Magic 2009 album. Thank you Paul!

My intensely silent tango

I wrote about taking breaks during the milongas to watch and appreciate other tango dancers. In doing so, I have made another epiphany—That I don't have to be like/look like anyone else—I can have a method and style of my own.


Really good dancers I've observed

• Swooshers

I just call them swooshers because of the way they tango. They have large circular movements that "Swoosh" their way across the milonga floor. They go by in a blur of motion.

I once idolized these dancers because of the admirable agility of their delivery. It was like watching a show. I thought that it would be cool to gain the adulation of the audience. IT was a good ego stroker.

I have since gotten tired of this, as (IMHE) its a lot of motion. There is very good connection between the partners as they are concentrating on their motion. Its fun to watch when one expertly swooshes down the floor. It is however, a bit too much on the "Show" aspect of things.

• Walkers

These are the dancers who tango very simply, yet elegantly. They move smoothly as if on rollers. There really is not much to see when they dance, other than the fact that their followers look like they're in a trance. To a beginner, these guys would look "Boring." The big difference here was that magical tango connection.

After watching intensely, I have come to appreciate this form of tango, and decided to make it my own.




My intensely silent tango

Everyone needs to dance their own tango. I call mine, an "Intensely silent tango." A tango that to the casual observer, is not much to watch. However, to my partner at the time, the lead is LOUD, clear, and vibrant. This, regardless of how simple the motion being led.

In order to do this, I have had to develop the following:

• Control the power and delivery

I had to temper my movements to be confident and resolute with no tentativeness. No excessive/unnecessary motions. Do just enough to make the movement happen. No more no less.

• Know where her feet are at all times

I have had to learn to lead her. Land her weight where I need her to be before I continue the next movement.

• Wait for her

Wait for her to finish her step, movement, embellishment before continuing. Tango is a two way street, and sometimes my partner embellishes. Let her finish and and enjoy the moment.

• Keep the chest consistent

Now more than ever, my lead has come from the chest, as it should be. I am always conscious of my tango posture. If the posture fails, the lead becomes weak.

• Assisting the lead with Impulses (Micro leads)

I sometimes use muscular impulses to make my leading clearer for my follow. A muscular twitch here and there as appropriate. I utilize this most especially while dancing to complicated music and/or fast music.

I employ these techniques in the attempt to not only better my tango. But most importantly, to make the experience better for my partner.

The first time I danced with a "Stranger"

When I first learned tango, it was with Mrs. Ampster. She was my permanent partner. We practiced together, we got good together, we progressed together. I was one of the fortunate ones to have had a partner who shares the same interest.

When we were still learning, we normally attended group classes where you shift partners. Ok, this was class, that was normal, I guess. This experience was my first exposure to different partners. We were all beginners learning in open embrace. No big deal.

After a few months, Mrs. Ampster and I started going to milongas. I'd like to think we were getting good. At least, Mrs. Ampster was. She was getting asked to dance a lot.

I on the other hand, I was to too terrified to ask anyone else. I think it was fear of rejection over anything else. My "fragile" ego would not survive a trouncing...

On one particularly bland milonga evening where dancing was sparse with the evening's ambience dead. A beautiful blond lady came up from behind me and asked...

"Would you like to dance with me?"

I gasped, turned around and said,

"I would love to."

What the hell am I doing!!??

This the monologue of my brain in turmoil that followed:

OMG, What the hell am I doing?

That's OK, we can make this work.

Here's my left arm. Oh good she took it

Here she comes!

Oh no, her arm just went over my shoulder, Gaaah! Close embrace!

I can't move.

These are NOT my wife's boobs!

Breathe, breathe, breeeeaaaatheee

My heart's racing. Relax, relaaaxxxx, breaaaaathe in annnnd ouuuut

When's the music going to start? Oh, it already began...

Now what!? I can feel HER breathing! She's alive!

Ok, calm down. Think of what your teacher taught you

Keep it simple, keep it simple... and, walk, walk, pause... pause... ocho aaaaand boleo

Hey, this works! Let's walk some more. Just walk, keep walking...

Listen to the music, syncopate, rhythm, follow the beat....

I'll stop talking to myself now...

Epilogue

That was the first time I had REALLY danced with a stranger. I was amazed at how well it worked. I kept it simple. After I had gotten over the initial shock, I was able to think clearly. After which, I had enough confidence in myself to just let go. It was one of the very first tango epiphanies I've had.

It was an eye opening, and magnificently liberating experience.

Ampster's other blog

AmpsterTango is my blog exclusively for things tango. I recently added a couple of posts that related to Philippine history. Interesting, but out of context.

That being said, I created a new blog, "Ampster Ponders... Filipino style." This alternate blog will house my ruminations of living in this wonderful land called the area in and around Seattle from a Philippine point of view.

Oh, and that will be the venue where I post my "Foodie Porn."

Please come visit sometime——> Ampster Ponders

AmpsterTango