(The original article deserved fuller explanation, so here’s an updated version as of December 2024)

Maybe a New Year’s resolution . . .

As Followers, many of us have grumbled between ourselves for a long time how some of the tandas we have, can become tedious. After the first track it’s all too clear that it’s going to be repetitive for the 2nd, 3rd and maybe even the 4th track.

However, there appears now to be a new focus in the Salon-style of dancing, influencing leaders to change from their step-based routines, to a more improvised dance, coming away from the whirlwind of set sequences. The emphasis is to interpret the music, dancing to the phrasing as well as the rhythms; slowing down and pausing more, and reconnecting with our partner.

We can only hope that DJs will play the huge and beautiful variety of tango music from throughout the ages. Repeated tandas of fast tango music will not encourage dancers to slow down, to become expressive, romantic, musical and adaptable.

If sequences are to be broken up ladies, endings will not always be the usual; entries can be different and unexpected; combinations will be changed. When it happens, we need to be ready and listen to the leader who is now mixing their routine, so it’s no longer going to be something you’re familiar with. You will need to listen to every individual element they’re leading.

You also have an influence how well your partner dances, not just how well you dance with him. Harmonising with the music as well as your partner is essential. You need to listen and work the music too. The old adage of ‘one body and four legs’ makes a lot of sense when you dance as one.

It’s down to us to work on our own dance, to move, improve and be responsive, and be ready to adapt and react to the leader. It takes a lot of concentration and practice.

For this way of dancing a follower’s repertoire means you must know everything, and expect nothing – and DO NOT ANTICIPATE.

If you dance with unfamiliar leaders, you need to be alert to their nuances, their way of interpreting the dance and music. Quietly tune into them and follow with elegance and grace. It may mean not putting in those normal decorations you love, until you’re sure you can do them without interrupting the flow of his lead.

For new and recent new dancers, it’s a whole new learning curve and will take longer than the quick way of bolting sequences together, as you will need to now break down those sequences into their individual components.

Having a skill set in your armoury where you can respond immediately to the change, only comes with dedicated practice to integrate into your body the basic technical work into your body. Then you can dance with your whole body, not just doing the steps.

There is only one answer in how to do this – PRACTISE IT ON YOUR OWN!

(This also is relevant to how Leaders learn, but that’s for another article)

To stand any hope of improving and becoming better dancers, you need good coaching – more about this here – then to practise your basic skills and technique, at home, on your own. We are all individuals, physically and mentally, including how we learn, one size doesn’t fit all. Ask your teacher for guidance about ways that work for you and your body. Or contact us if you need help.

Good technique not only makes you look good, feel good, allow you to be more responsive to your partner – but its purpose is also to protect your body. (There’s more about protecting your body and dance – here)

I have lost count the number of times ladies have said to me “it’s OK for you, you’ve got a partner”.

None of my practice work is done with my partner / husband.
And there the myth gets busted…

I don’t intend for this article to be a full exercise plan, it’s a brief outline of what you need to have covered from the beginning on which to build to become that better dancer. Or, go back and include it now – it’s never too late.

We would all love to by-pass our practice and go straight to the pretty and exciting stuff, especially in the early days. That’s a big mistake – NEVER forsake technique for content.

Now you see how essential it is to practice to become more fluid, working on your balance, axis and stability with every element. To do this well, drill and perfect your technique so it becomes an intrinsic part of your being.

Don’t stress yourself unnecessarily by wearing stilettoes to do practice work. Repetitive practice works well with practice shoes or even socks. Once you’re in control then convert to doing it in your regular dance shoes.

Retro-learning – may take a little longer because the time you need to undo bad habits and replace them with new neural pathways and muscle memory. You may be very surprised just how different your dancing will then become.

Posture – getting the correct posture from the outset is critical, so good coaching is essential. Your pelvic floor and tummy muscles need to be engaged correctly when you’re practicing or dancing, as they protect you and your back from stress or injury, as well as you looking good. It may feel strange and unfamiliar, taking a little while to achieve it before it becomes natural.

This is particularly essential for when you begin circular or any off-axis movements. Not all teachers have the skill to include this work in class, but it’s elementary and necessary for all followers.

If you’ve had dance training, or do Pilates, Yoga or similar activities, you will have an advantage.

Axis, Stability, Balance, Torsion – tango for us consist of these few but vital elements. It all aids your response time to the lead, add to that walking and pivoting then everything else is fitted around these.

Understanding the importance of these elements is paramount. Practise them until they become a natural part of you, so you can do them with ease and without stress.

Axis – what does it actually mean? When you’re standing upright, it’s an imaginary line that runs from the top of the head, through the centre of the body, and ends between the feet. You’re then in axis, balanced, stable and not moving.

An example; take a chair, if it’s standing on all four legs, it’s in axis, it’s balanced, it’s stable, and it’s not moving.

If you move the chair so it’s on one leg, you have changed its axis. You can stabilise it by holding it on the one leg so its balanced, now it’s easy to pivot it on that one leg.

Balance – most of our dance, whether walking, pivoting or standing we will have our axis balanced through either leg. It’s how you hold your body and weight which will determine your balance and how stable you are.

Stability – when you take a side step you change axis from one foot to the other. Again, you need good stability in that new axis.

Torsion – when doing any pivoting movements, we use our body as a controlled spring, using torsion in our body for the turning energy.

Pivots – the pivot in an Ocho happens on the ball of one foot as the body torsion is released when the heel is unweighted, unwinding like a coiled spring. Make sure there’s no tension in your shoulders and neck no stress through your hips, knees or feet.

Ochos – are not one continuous sequence, they comprise of several individual elements, all requiring understanding of the technique. You need good technique when leaders break in and out of a movement. Even an Ocho Cortado is made up of several individual elements, so it’s crucial that you do not anticipate your partner’s next move.

You may have been to classes where you zig-zag down the hall doing multiple ochos. If you don’t have good posture, balance, axis and technique, it can be counter-productive.

Your head – how you hold your head when you begin any pivoting movements is often overlooked. It can feel strange for you not to be looking at where you’re going, or where you want to end up, but we don’t ‘spot’ in tango.

When movements that require the embrace to become dynamic, we keep our axis and energy stable, and any movements requiring torsion, we keep our head towards our partner. A sudden head movement can feel very heavy, and if you move your face towards the direction you’re going, the result is you’ve now disengaged with your partner. Your shoulders will have moved so you no longer have torsion in your body, and you’ve shifted your energy and axis away from him.

Slow executed movements of every element will develop your skill, including co-ordination, timing, head control, how to use your heels and when to elevate.

Speed – make sure you’re stable in axis with balance and control before starting to increase your speed.

The Tango Walk – is another area that’s often overlooked, but it’s a separate and critical element. Many may be under the illusion they’re walking when bolting one sequence to another.

Walking whether forward, back, sideways or circular is an essential skill to learn, developing balance and axis. Keep your feet in contact with the floor. It’s also the follower’s responsibility when walking to keep the line, at the same time not getting trodden on.

We hear time and again “I keep telling them to use their heels”. This needs to be taught then drilled, so it can become a natural part of your dance.

There is so much more to this than just ‘walking’. As always, it takes good coaching and dedicated practice to develop. There is more about walking – here.

There are no short cuts – everyone needs to learn good foundation skills, as it’s the pre-requisite to becoming a good dancer.

You can then put all this practice into your regular classes, where you can work repetitively on your technique with a partner, overseen by your teacher.

If you feel you’ve reached a plateau; want to improve your dance discuss it with your current teacher, or if we can help contact me – here

Dance beautifully but be Safe