I love Gary for his sweet, positive energy. He makes people feel better just by being around, and he generously shares ideas and resources that support practice and learning.
Most recently, Gary shared a crossover insight from rock climbing into Argentine tango. In the podcast “Tom Randall: Pro Clinic on How to Climb Harder Without Getting Stronger” (https://youtu.be/5YD4JlzSfmQ?si=yFv_3JV6K7p-GwTq), Tom outlines four pillars for measuring climbing performance:
- Technique
- Tactics
- Physical Attributes
- Mindset
He deliberately excludes strength and endurance from the conversation—not because they’re unimportant, but because they’re already the easiest to measure numerically.
Let’s zoom in on the first pillar: technique, and how we can apply Tom’s ideas to learning and refining tango figures.
Climbing Strategy = Tango Strategy
Tom’s strategy for improving technique is called chunking—breaking a project down into parts:
- Break the climb into manageable chunks (individual moves or sequences).
- Identify and isolate the hardest, most problematic section.
- Don’t save the crux for later—solve the hard part first.
Why?
- Your effort is more focused.
- You progress faster.
- You avoid fatigue and burnout at the most critical moment.
Example:
Instead of repeating easier sections again and again, start by solving the limiting sequence that’s holding everything back.
The Crux of My Frustration
Here’s where tango instruction sometimes misses the mark.
Many teachers and partners insist we learn a figure by dancing it as demonstrated, from beginning to end. But that can be limiting.
- How do we know we’re actually leading or following, rather than just memorizing a sequence?
- What if the figure doesn’t suit the space or the music?
- The fun, challenging movements (like sacadas and ganchos) get no more attention than the easy filler steps.
- We don’t learn how to enter into or exit out of the cool stuff from multiple possibilities.
Our Tango Tribe Approach
We turn that around. Our practice method gives priority to the hard parts—the crux.
1. Solo first, both roles
Memorize the sequence and practice it alone—first as follower, then as leader. Ignore musical timing. Get comfortable.
Solo work strips away the confusion of partner dynamics.
“Is this problem mine or theirs?”
Practicing both roles gives us more perspective. We start with the follower role because it often involves more complex movement. If we understand what the follower wants to feel, we can lead more effectively. If we understand what the leader wants to create, we can follow more helpfully.
2. Partnered: Slow and deliberate
Dance the figure as taught, with a partner. Ignore the music. Focus on clarity and connection.
3. Pause and check in
Ask: Do we agree on what the figure is?
Share “I” feedback:
“I want to feel more/less of…” (space, pressure, timing, etc.)
4. Find and fix the crux
Once the full figure feels okay, identify the part that still feels awkward or unclear. Practice that section alone, plus its entrance and exit.
5. Improvise into it
Practice leading into the crux from different setups. Use improvisation to navigate the space and create a good entry point.
6. Add music last
Once the crux is smooth and we feel confident in the transitions, begin dancing with music. Use the full figure when it fits. Otherwise, improvise.
Focus on the Hard Part, Reap the Reward
The more attention we give to the challenging bits in a figure, the more our dancing improves—quickly and deeply.