My Tango Diaries

Last night I felt your heart beat as we danced, and it felt like a secret. So I held you closer, smiled against your cheek, and I didn't say anything.

At the milonga . . . Our out-of-town visitor sat almost the entire milonga, dancing only three tandas all night. I was disappointed not to get to dance with him, but I knew he had taught workshops all day and likely just wanted to unwind. In this Texas heat, I don't think anyone has the stamina they have at during the Fall and Winter. When the milonga was over we gave each other a big hug and he suddenly, and emphatically, apologized for not dancing with me, which was really unexpected - and very kind. He went on to say that the music he prefers to dance to simply didn't get played very much, so he sat and listened. He only wanted to dance to the music that really moved him. I thanked him for choosing to sit rather than dance to music he didn't care for - and I meant it. Reflections . . . This is one of those things we hear about in North America, the milongueros who sit and wait for the music that they love - even if it means sitting all night, but it's not

(Image courtesy of Emilie Boudet: http://www.emilieboudet.com) From the Facebook comments on my "Expressing the music or dancing for tables" post: "But adornments can become problematic when they interfere with something I'm trying to do. (I have enough trouble as it is). Some of these are basically harmless and don't really bother me that much. Like some ladies insist on doing a gancho whenever I lead them to step over my leg. I'm mostly amused by this. Some girls just like their ganchos and will seize any opportunity to do one." Predictably, I have several problems with the above behavior. First of all, they aren't "their ganchos" ! The gancho for the follower is led. It is my (nearly fanatical) opinion that it should never be an adornment or something the follower just decides to do on her own . As someone who is now attempting to learn to lead, the last thing I want to see, or heaven forbid feel, is a stiletto heel near my crotch .

(Picture courtesy of morguefile.com .) This post was inspired by a comment from another blogger who wrote: "One thing you should also bear in mind is that you can't please everyone with your tango. Some leaders like a follower who decorates a lot and others don't. It's not always possible to tell which is which. As followers, we have to strike a very delicate balance between being dance chameleons who try to adapt to every leader and finding our own personality, our own character as dancers. It's a fine line. I'd love it if you'd write a whole post about it." from Terpsichoral Tango at http://www.tangoaddiction.wordpress.com Coincidentally, I was already working on a post addressing this, so I'll give it my best shot Terpsichoral. Above is a 7-ish minute long video with only a few sentences that I want to point out. Whenever I hear (or read about) anyone talking about the follower's musicality - this is what I think of. The bit that I'

Too much of a good thing? As sort of a follow-up to my thoughts on technique, I've run into a little snag I'd like some feedback. When I get compliments about my embrace, I'm absolutely elated. When someone compliments the way my walk feels, I feel accomplished. Compliments about my musicality - ditto. When I start getting lots of compliments about my foot work, however - I get worried. I shouldn't right? A compliment is a compliment, and should be taken graciously. It's certainly meant as a positive thing. It's a good thing if a dancer's feet are pretty - why else would everyone wear those silly, yet gorgeous, shoes? But like Richard Dreyfuss staring down his plate of mash potatoes in Close Encounters of the Third Kind, I can't help thinking it means something. Something not good. I don't mean like a backhanded compliment - but more like a fear that my priorities have unintentionally shifted. Maybe it's a community thing. Online I very often r

Two women who say it better than I can . . . An excerpt from Ms Hedgehog's post on Technique: "To feel somebody's heart through a good suit jacket, you have to zone in and he has to be in the right place as well. And even then, it only means anything if other things are right. It's awesome. I feel like I shouldn't talk about it. But the better I dance, the more those moments happen and the more awesome they are. It's that simple." Read more of this great post here: http://mshedgehog.blogspot.com/2011/07/technique.html And from Terpsichoral Tango, who also shares some great ideas for solo practice, makes this point particularly well: "Of course, solo practice is not a substitute for practising with a partner or for social dancing in a milonga setting. When I am actually dancing, I want to be able to focus on quite different things - in particular, the interpretation of the music, the connection with my partner and the embrace - and not have t