Always work with a notebook and camera. Every time you make a good or interesting discovery, video record it so you don’t lose what happened, then in your notebook record the date and time, who you worked with, whether you recorded it and where, and annotate the sequence for quick reference.
Keep it concise! Whatever you work on and whatever you produce for your video and written log, make it short and sweet. When we combine too much material at once we make it difficult (impossible?) to discern where we need to work and what changes make the greatest improvements.
For any tango element or sequence you work on, identify the key point(s) that make it work or make it interesting.
Take the latest pro performance video that has captured your attention. View it with your partner and make a time log of the sequences or movement dynamics you want to explore. (Use the space bar for an easy stop/start.) Work through them one at a time until you feel a level of mastery. Video record and log what you’ve done.
Taking any tango element or sequences, what are all the various ways you could enter, begin the element or sequence? Which ones seem to work better? Why? Could a slight change be made to make an awkward one work better?
Taking any tango element or sequences, what are all the various ways you could resolve, end the element or sequence? Which ones seem to work better? Why? Could a slight change be made to make an awkward one work better?
- Instead of forward direction, go backward.
- Instead of leader to follower, do it follower to leader.
- Instead of to the hand-side (HS) of embrace, do it to the arm-side (AS).
- Can we made this into a repeating, chain figure?
- Can we make this travel down the line of dance (LOD)?
- Can we make this circular figure travel in a line?
- Can we make this linear figure move in a circle?
The Tango Keypad
Using a random number generator or phone numbers from your Contacts list, do the moves dictated by a three-digit (or longer) sequence.
- Try the sequence starting from each of the four possible starting points: Parallel System (PS) with weight on AS or HS, and Cross System (CS) on AS or HS.
- Which starting points work best?
- Does the sequence (or part of it) remind you of anything you already know?
- Does the sequence work as a good starting or ending point of anything you already know?
- Where movement seems awkward, how can you make that flow, and can you apply what you learn from that to other, similarly awkward movements?
- Code a sequence you already know in keypad format. Does this give you ideas to generalize the movement or to make substitutions?
- By the way, an understanding that every weight change (either in place or over a distance) is an Open, Front-crossing, or Back-crossing step facilitates our ability to create entry/exit steps from any other sequence.
Take any tango element or sequence you know, and at each step explore what would happen if one or the other partner changed weight (such as with a quick cross or step-together).
Take any tango element you know and explore how the result or dynamics change when leader:
- Directs partner’s step toward themselves, away from themselves, or somewhere in between.
- Directs their own step toward their partner’s new leg (the one arriving on a new axis) or old leg (the one leaving the old axis) or somewhere in between.
- Make this analysis with each step.
All of the above seems mostly oriented to learning or discovering new movement patterns, but we should not neglect movement dynamics, movement quality, and musicality!
- Review videos of yourselves with an eye to clean, clear, crisp, final placement of each step, pivot, or other movement. We tend to focus on ourselves. View again and give your partner feedback on what you feel. Practice and redo the video until you feel satisfied that you have a publication worthy example. (Remember the advice up top to keep it concise.)
- Similar to how above we explore foot placements, symmetries, and more, we also want to explore movement quality: larger/smaller, faster/slower, strong/weak, regular/irregular timing, higher/lower, I move them/they move me/we move ourselves, changing linearity/circularity.
- Much as we did for our latest favorite pro video, pick a favorite song and write a time log of musical inventions and fragments that particularly catch your attention or entertain you. Explore (and video/log!) ways to interpret these in your dance.
As a student of not only Argentine tango, but also teaching, coaching, learning, and practicing, I am always looking out for good ideas. Do you have some? Please share.