Dancing Soul

Approaching tango from different angles

In my current tango teaching, I've been trying a new approach: alternating very technical, anatomy-based, high-focus work with my crazy, zen games about the flow of energy, organicity of movement, and the FUN of tango.

I have apparently been forgetting the fun aspect too much recently.  A student commented to me that my technique class made tango seem very hard.  Relax the ankle! Don't bend the knees too much! Angle your hip joint for the best balance! Breathe! Stretch the spine! Push off the floor! etc. Yes, all of this is important for beautiful technique, but no wonder some folks give up on tango!

For this coming week, I am going to play tango games. And I do mean play: tango has so much improvisatory scope that the only way to fully explore it is to turn off the analytical part of the brain for a while, and move from the body; let the brain follow along as best as it can.

For my intermediate class, we are going to look at how the flow and energy of a dance movement suggests the next step. Rather than plan an A + B + C approach to the dance, we are going to use momentum and suspension and going on/off balance, to find what move comes next: a turn? a boleo? a pause? What makes sense from the flow of the motion?

What does the music suggest? Slow, fast, pause, what? If you weren't doing tango, what would you do to this music? If you are doing tango to it, what do you see in your head (turning off the "but I don't know how to do that move" part of the brain)? What other move is like that, and may work instead? When the song is over, you should have learned something about that piece of music, as well as having dancing during it. It's not just about the beat . . .

What does the space demand? Oh no, I'm in a tight corner: what could I do? Wow, extra space in front of me: what works here? Geez, that person ALWAYS backs up in front of me: how do I protect my partner? Forget steps: what direction could I go?

What does my partner provide that adds a layer to this dance? Do I have a follower who is giving me tons of extra energy to tap into, or do I have to provide the gas for this dance? Is my leader responsive to my messing around with the dance, or do I need to just give lots of energy, but not a lot of adornos? How can I be the best partner for this person, for this dance?

For my beginners, we'll play naughty toddler again (for some students, this is new next week): the follower does whatever s/he wants to do, and the leader attempts to keep the dance moving more or less line-of-dance, without crashing into furniture or other dancers. We'll find how much energy can be funneled into the dance to make it fun, if out of control. For the leaders, we'll see how easy it is to lead a partner with a lot of energy, and how to use that energy better. For the followers, we'll find out how much energy can be used to make an active follower, and where the out-of-control line lies with each leader.

I'm still working on what else we'll do, but I think we all need a break from being so serious ;-)

Plus, Oscar and Georgina will be here!!!!! I'm kind of nervous about teaching with my teachers watching, and I'm sure they've never seen such a weird tango class, but perhaps it will spark an interesting discussion! Either way, you'll see me taking class with them all weekend, working on technique again. They always inspire me to work harder to make my dance more energized and full of joy, so BRING IT ON!

Inspiration is coming!! Oscar and Georgina will be back soon

In the past two days, I've received requests for information about Oscar and Georgina's workshops here in Portland, from as close as the next neighborhood, to as far away as Canada! How exciting that so many folks plan to benefit from these wonderful teachers! The full, up-to-date, accurate workshop schedule is now located as a page on this blog (see the right hand column), but I'm posting it here as well:

July 17-20 @ Soma Space, 4050 NE Broadway St.
Directions & map:
http://www.somaspace.us/contact.html

Friday, July 17th
6:45 PM  Oscar & Georgina's Secret: Techique (all levels)
8  PM       Dancing in the style of portenos (all levels)

Saturday, July 18th
12:30 PM Magnetic movement and the embrace  (all levels)
1:45 PM   Traspie: what they are & how to do them (all levels)
3 PM         Quebradas, giros & enrosques, milonguero style (I/A)

Sunday, July 19th
12:30 PM Density and Elasticity (all levels)
1:45 PM   How to lead, follow & change directions (all levels)
3 PM        Tango rhythm and phrasing  (Int/Adv)

Monday, July 20th
8 PM        Creative Combinations: steps for fun! (Int/Adv)
Cost: $25/class, $66/3 classes, $180/9 classes 

Private lessons @ 4315 NE Garfield Ave., Portland
Cost: $100/hr + $8 floor fee
To schedule, call 541-914-4812 or ewartluf@gmail.com

Shoe information:  Soma Space has a lovely, pristine floor.  PLEASE clean your shoes carefully, and do not bring any shoes that have rough edges, nails sticking out, broken heels, etc.  We will be checking all shoes to ensure that we are not charged for damage to the floor.  You might consider bringing two pair, in case one pair is refused (sorry, this is a condition of the studio owner).

Tango New Year: now I'm REALLY on my axis

Oscar Mandagaran and Georgina Vargas delivered a kick-ass weekend of workshops for Eugene, OR. Every time I study with them, I am again both inspired to work hard, and amazed at how far I still have to reach for perfection. Wow! A new year of tango has started for me, and with it, New Year's resolutions.

The power of positive thinking

When I told them that I couldn't believe how bad my dancing was before, Georgina said, "Ya se fue, no exista ahora" (that's gone already, it doesn't exist now). "Don't think of the past and mistakes: focus on how good it is now, and how good it's going to be in the near future!" Oscar added. That will be my goal for this year, letting go of old stuff and moving on to great, new, fabulous things in life and tango.

The power of new shoes

One new part of my tango is: my Comme Il Faut, bumble-bee black and yellow, stiletto heeled tango shoes. I had put off buying new shoes for a while (say, oh, seven or eight years?!). Each time I thought about buying shoes, I'd say to myself, OK, the next time I go to Bs As, I'll get more shoes. Well, a few years of working a job with no vacation, then a child, then the move to Portland . . . and suddenly, all my shoes look shabby. Unable to buy NeoTangos in Portland, I caved in and bought Comme Il Faut shoes.

I love these shoes. My feet look sexy, flashy, NEW. They only go with some of my outfits, but who cares? I am now on a shoe-buying frenzy, with two more pair on the way from NeoTango.

I am not someone who spends money easily, so why all the new shoes? Because, after going to the milonga one evening, Oscar and Georgina looked at each other, nodded, and said, "OK, Ely, you must throw out all your old shoes. Your technique is so much better in your new shoes that you look like a different person. Your old shoes are worn down, and are pulling you off your axis.  They MUST go in the trash. Do NOT wear them."

As usual, Oscar and Georgina are correct. Suddenly, I have to be on my axis. With stiletto heels, there is no margin of error: either I'm on axis, or falling over. With these tiny little heels, all the information about relaxing my hips, stretching my solar plexus up, pushing off the floor, really ARRIVING on each step--all this instantly makes more sense. For the first time in my life, the initial wear on my heels slopes in a bit, allowing my ankles to collect, rather than rolling out into my old flat-footed stance. All my old shoes reflect ten years of my dancing. I've gotten better, but they are still fighting me to return to my old ways. Out they go into the trash.

The power of repetition

I am doing my tango exercises daily. Oscar and Georgina gave me exercises to work on. They come back in a month to teach in Portland (yay!), so I have a short-term goal of being able to improve my walks forward and back, lateral steps, pivots (lateral, pivot, forward; lateral, pivot, back) and shoulder blade placement. It's nice to be in a space in tango where I am happy to just make my walk perfect; I know I'll work on the other stuff later. I no longer have to do the "hard" stuff or prove my level. What is important is that I feel all the details in my body in order to help my students understand these elements.

Each time Oscar and Georgina come back (this will be visit #4 in two years), I can feel how my understanding of the dance has deepened. The repetition feels good, and each new level is built upon a strong base, always improving, always becoming more elegant, always becoming more enjoyable for me, with ANY partner. So I will repeat my exercises and get used to my new, improved shoes and my new, improved balance.

The power of community

This year, I am going to collect about me people who are good, positive, lovely folks, and share tango with them. The energy I see and feel in tango seems to be lacking in big chunks of the tango community. I look around, and many people seem to have forgotten that tango is FUN. I see frowns, blank stares, slouchy postures, walled-off energy. Let's get rid of all of that!

I am starting to teach group classes in Eugene again sometime this year. We've got an exciting plan to boost the tango energy and the level of dancing there. I am teaching group classes in Portland, and I'm going to start a milonga or practica this year, somewhere fun (I'm looking at a cool cafe right now): somewhere to come have a cup of coffee, dance, talk to people, build community. I've got some plans for another town or two nearby: a little chain of tango satellites to Portland, connecting communities, creating dancing spaces and people to make even more tango happen in this area.

Community to me means house parties and potlucks. It means coffee outings and going salsa dancing with tangueros. It means going tango dancing with swing dancers. It means telling my neighbors and the people at the playground about tango, and encouraging new dancers to try a turn around the floor. The tango community needs to reach out to not-yet-dancers (I don't believe there are actually non-dancers in the world, just folks who haven't had the opportunity to learn yet). Imagine: the whole city dancing!

The power of beginning another cycle

New classes:

Portland:

Beginners: 7 PM Wednesdays, starting this week! $80/10 weeks, @ 4315 NE Garfield Ave.
Intermediates: 8 PM Wednesdays, starting this week! $80/10 wks, @ 4315 NE Garfield Ave.

Salem:

Beginners: 6:30 PM Tuesdays, starting this week! $65/6 wks, @ The IKE Box, Cottage & Chemeketa
Intermediates: 7:30 PM Tuesdays, starting this week! $65/6 wks., @ the IKE Box, Cottage & Chemeketa

Private lessons: Every third Tuesday, Eugene; every Tuesday evening, Salem; M, W, Th, F, Portland.

Coming soon: classes in Eugene (Mondays) and Vancouver (probably Fridays).
Coming soon: advanced class in Portland, (probably Thursdays)

New attitude, new shoes, new technique, new classes, new focus. Now I'm REALLY on my axis!

A new tanguera experiences Oscar & Georgina--and you can, too!

Oscar Mandagaran and Georgina Vargas are not just for the advanced tango dancer.

After only a few months of tango, one of my students and friends in Portland, Sarah, told me she was headed for Buenos Aires. "You MUST study with Oscar and Georgina!" I told her, and connected her with them. Here's some email she sent me this spring from Bs As:

Email #1: I'm studying with Oscar and Georgina!!!!!!!!!!!! (I think her original version had more exclamation points than that, but I can't find the email to cut and paste)

Email #2: After that first email, I asked her to comment on studying with Oscar & Georgina:

"I´m in BA right now studying with Oscar and Georgina three times a week. Oscar and Georgina are exceptional, and if I could I would insist that anyone learning Tango must learn from them. They exude the essence of tango in their own bodies and dance (it really takes your breath away to see them), but are the most delightful and enthusiastic teachers that I have met.  I am a beginner, but they not only have patience and give me excellent instruction, but they genuinely seem to care about me. In teaching they combine the ability to give highly skillful and timely instruction, demand a high level of participation ("no holidays!", as Oscar loves to say while smiling at the beginning of class), while somehow making you feel like what you are doing is important and good. And to anyone who is intimidated by how completely mouthwatering and delightful and passionate their own dance is to look at, you might take comfort in knowing that I was at a Milonga last night with them where they dance among all the other Milongueras to refuel and be at home. I highly recommend grabbing the opportunity to study with them in Eugene or Portland, with the only reservation being that I will have to share them with you!"

Email #3: Sarah emailed me to say that she had more to say:

 

"Georgina and Oscar developed a way to dance tango that creates a pain free, organic, and natural feeling dance. Since I didn´t realize that about their teaching method before I came to Buenos Aires, this was not why I chose to study with them.  So, it came as a surprise to me to notice over the last three weeks that the pain in my feet and my low back have slowly disappeared.  Because I´ve back pain for years I had no expectations of relief from it.  But I find that I feel more freedom in my body, and well as I said...very suprisingly.. no pain at all when I dance."

Why Oscar Mandagaran & Georgina Vargas rock my world

I've taken classes from dozens of tango teachers since 1995. Many of them are good teachers, and I've learned a lot from them. However, Oscar Mandagaran and Georgina Vargas are my current study focus--and they are coming to Oregon next week!!!!!

I started to study with Oscar in 2000. I was in Buenos Aires, working on my M.A. thesis fieldwork. My boyfriend at the time insisted that I go to his teacher's dance class. "He's amazing!" Yeah, yeah, everyone thinks their favorite teacher is amazing. I went along to class, only to discover that Oscar WAS amazing. Here was an international tango star, teaching tango in somebody's apartment living room for 8 pesos a class, to a bunch of earnest young Argentines. He approached every class with 150% enthusiasm, encouragement and good energy.

Oscar completely changed the way that I taught tango. I had never thought about tango being about energy. Oscar taught me to move my body and my legs with a lot of energy, drawing it up out of the earth to stay grounded. He taught me drills to improve my walk, my ochos, my turns, my boleos, my adornos, my milonga--he had an exercise for everything. His technique was well-thought-out, clear, and offered with encouragement and smiles: "Very good, Ely! Very good! Now, I want you to do it THIS way!"

I came away from his classes with a new commitment to tango and a new confidence in my ability to reach my goals. I returned to teaching with new tools to help my students learn more easily. I learned to put 150% into a class in order to get 100% back from my students, and to feel grateful that I was allowed to do what I love as work.

I tried to get Oscar to come to Eugene, but he needed a minimum earning guarantee that I, as a graduate student, could not promise. Then, in 2007, I heard he would be in Portland. I was SO excited! I put it on my calendar, make arrangements for a babysitter, and counted down the days. Four days before the workshop, my father died, and I flew home.

In 2008, I received an email: would I be willing to host Oscar and his new partner, Georgina Vargas.  Would I???!!!! I set up workshops in Eugene and Portland, and hosted them for a week. It was wonderful. When do you meet international stars who do their own dishes, help shop for dinner, and grill steaks on the parilla for you while you make salad? They brought energy and joy into my house, along with a whirlwind week of tango.

"What I want," I said, "Is a more elegant tango. I know a lot about tango, I feel that I am a good teacher, but my dance just doesn't look as elegant as I'd like."

"We can fix that!" said Oscar. They videotaped me dancing, made me watch it (eek), and took my dance apart to the ground floor. During that week, I practiced and got feedback; took lessons and went out dancing; and talked about tango styles. At the end of the week, they gave me exercises to do daily, and promised to pick up from there in October.

Oscar and Georgina returned for Tangofest in the fall. I hosted them for a week again, soaking up information and working hard on my tango. They praised the progress I had made, gave me additional exercises, and again refined my new styling to make it look and feel better.

The main differences I've noticed in my dancing are my lack of pain and the smoothness of my dance. After a night of dancing, I feel great. My feet don't hurt anymore. My back and arms can survive even a difficult leader. My adornos feel strong. My walk feels sensual. I feel that they gave me information that no one else ever had.

They rock my world, and they'll be here two weeks this summer so that we can take classes, practice, get a checkup, and make goals for our tango year.

Oscar Mandagaran & Georgina Vargas are coming to Eugene and Portland

Here is the schedule for Oscar and Georgina in Eugene.  The schedule for Portland is tentative, as I do not yet know 100% where the workshops will be held; the themes/topics are correct.

Spring review sheets are up!

Portland and Salem tango classes, here are the review sheets for our April-May 2009 sessions. Portland beginners: we haven't gotten quite this far, but it is helpful to have a list of goals to work towards. Here is what I consider the fundamental concepts and moves to get you going out on the dance floor.

To find your review page, look at the right-hand column of my blog, under pages. Let me know if you can't find them. I am still learning how to post videos (yes, I know, I'm a Luddite) and will eventually figure that out :-)

Thanks for such great classes this spring. I feel so proud of all of you and your hard work.

I should be out dancing!

Instead, I just spent an hour retyping a review page that the machine had eaten (and I even saved it . . .).  Ah, well.  Portland Fundamentals class, here is your review sheet for last session.  Intermediate folks from Salem and Portland: I promise review sheets are coming soon.  That basement remodel is eating my time.  More on that on my other blog, eventually.

The review sheet is over on the right side of my blog page, under "Pages" which should be easy to spot.  Let me know if there are any questions/steps I forgot to include.

Walking your tango: Irene Dowd's article about "Standing on Two Legs"

Walking seems like any easy thing to do. After all, we learned to do it as tiny children. For many people learning to dance, however, walking turns out to be more difficult than learning new steps. Why is this?

Many of us use our bodies in ways that are inefficient. When walking inefficiently, we put more stress on our bodies than we need to. If more stress is placed on the body, it wears out sooner. Learning to move efficiently enables us to be active longer in life and to enjoy less chronic pain as we age.

With so much energy being expended to maintain balance and posture, less energy and focus is available to deal with the dance itself. Therefore, learning to walk efficiently makes learning to tango much easier. Irene Dowd's article, "Standing on Two Legs," explains how the foot, leg and pelvis are constructed, and provides several excellent images that might help tango dancers move with more energy and less stress.

The foot

The foot is the base of the body, connecting with the earth. In order to stand and walk efficiently, we have to use the foot correctly. Dowd says that

The foot itself is composed of lengthwise and crosswise arches so that each foot is somewhat like a dome with a triangular base. Ideally, when we are standing still, the weight of the leg transfers from the ankle equally forward and back, one half of the weight going through the heel and one half going through the ball of the foot. (p. 30 in Taking Root to Fly)

I further spread that awareness of weight and balance to the four corners of the foot: ball of the big toe; ball of the pinky toe; inside edge of the heel; and the outside edge of the heel.

Walking in space

Using the foot correctly makes it easier to move through space with less effort. That means that more effort can be applied to balance, breath, musicality, the partner, etc.

When we are moving through space, this arch functions as a powerful spring to thrust us forward from one foot to the other through the action of a multitude of muscles on the sole of the foot and back of the leg. When we put the foot back down again, all these muscles relax as long as our foot is pointing straight ahead so that our weight is again supported by the fundamental arch . . . (p. 30)

Now, this seems to not jive with the idea of being slightly turned out in tango. I have pondered this for some time, and I feel that the main point is that the foot must be in a natural position. Most of the dancers that I teach naturally have some degree of turn-out. I believe that what Dowd means by straight (and I have not asked her personally, so apologies Ms. Dowd if I have mis-read!) is your natural turn-out. 

Other joints: ankle, knee and hip

Dowd stresses that  ". . . the aim to keep in mind is allowing the joints to come easily into line with one another."

The joints of the foot and leg need to line up so that the bones of the body support balance, rather than the muscles. Luckily for us humans, our leg bones are constructed in a way that allows these joints to stack up under/over each other easily. That way, muscles aid in movement, but balance is (mostly) finding the right way to stack bones on bones.

The ankle are relatively stable in structure. It is a hinge joint (forward backward movement, no rotation) and has a lot of strong ligaments holding it together. Rotation near the ankle happens within the foot. 

The knee is less stable, but still built to hold you up. It is a hinge joint, like the ankle, but has some rotation (too much, and you rip things, eek). If you hold the knee out of alignment in your normal walk and standing motion, you need to devote a lot of muscle and brain focus to staying balanced.

The femoral (hip) joint is a ball and socket joint, which means that all sorts of cool movement is possible here. Because the femur tilts out from the hip joint and then back towards the knee, the knee lines up directly with the femoral joint (and the ankle). In order to walk efficiently, the pelvis needs to be in an optimal position in order to balance over your feet correctly.

Images to help proper alignment occur

I think of my legs as part of a huge, thick spring coming up from the ground, up my leg bones and up to my center, with each piece of my legs having the same amount of even flex. Of course, this is not physically possible, but it prevents me from using my knees as my balance point, and spreads that strain from my ankles and feet up to my pelvis (if you have any joint injuries, imagine the other joints picking up the slack to protect your body!).

Here are some images that Dowd uses to help you position your body more efficiently:

• Think of your sacrum (center back of your pelvis that is also the lower end of your spine) as very heavily sinking down towards your heels but do not contract your buttock or abdominal muscles to do this, let gravity do all the work while you simple observe in your mind's eye.
• Imagine a line of energy thrusting up from the ground through the center of your foot . . . straight up to the center of your femoral joint (hip joint).
• Think of the centers of your foot, ankle, knee and femoral joint as open gateways for the energy to shoot through from the ground source. This line of energy jets up like a fountain of water from the ground to your pelvis to support you upright and then it streams down from your buttock and all around you like a waterfall to flow out your feels and out each toe in a spreading pool. Remember that your bones provide the upward thrust against the pull of gravity, not your muscles.
• Let your feet remember that they are always a living connection with the earth. Allow each leg its full capacity to be alternately stable as a column and fluid as water.

Learning takes time

For each one of you who has said to me, "But it's not working!" I want to reiterate that tango (and learning to walk efficiently) is a process that your body needs to learn. It takes time for the neural pathways of the new, efficient movement to take precedence over habitual movement pathways. Muscles have to learn to relax (or work harder) to balance in a new way. Motor memory needs time to function easily, memorizing the new pattern or shape your body will use. Dowd says this happens after" . . . much movement practice with a new alignment pattern. . . . In the meantime you must actively concentrate on performing every-day basic movement patterns with your joints in line."

OK, go out there, and WALK!

Note: for those of you who would like to read Irene Dowd in all her glory, the book is Taking Root to Fly, ISBN #0-937645-02-8. Eventually, I will touch on all the articles in this book (perhaps not the one of the anatomy of the eye; you can read that one for yourself!). Irene Dowd has performed modern dance, choreographed, as well as taught neuro-muscular training and dance at Juilliard and several other impressive places, and studied at Columbia-Presbyterian Medical School.

Even more about sacadas

As both my Salem and Portland intermediate classes are tackling sacadas right now (due to requests from class members), I want to offer more tips about executing specific sacadas, as well as general comments about sacadas.

Kinds of sacadas

A sacada is a step where one dancer "replaces" or "displaces" the other in space. Often, it looks as if one partner has stepped through the other dancer's step and pushed the first dancer's foot/leg away. This is an illusion, as the step is led by the torso.

There are many types of sacadas.

One way a sacada is named by the person executing the step:

• Leader sacadas: the leader makes the follower move, and steps where the follower had been standing.
• Follower sacadas: the leader moves to a new spot on the floor WHILE leading the follower to move to the leader's original location.

Another element of the naming process is determined by what step the person doing the sacada, was performing during the sacada:

• For example, if the leader walked the follower to the cross and then initiated a clockwise (or right) turn (so the follower was doing a front cross step with the right), and did a sacada with the leader's right foot, that would be a leader front sacada.
• However, if the leader used the left foot for the same setup, this would be a leader side sacada, as the step is really an open step executed as a forward step.
• Hint for the highly structured: To determine whether a step is "front" or "side/open" you can stop the motion and see what system is in place. If the follower is doing a cross step and we are in crossed system (both using right foot), then the leader is doing a front (or back) sacada. If the couple are in parallel system (follower's right, leader's left), this is a side sacada.
• Hint for less structured folks: Don't worry if it's a front or side sacada, since using either foot is kosher. Use a foot and then figure out what to do next :-)

A third element of naming a sacada is the step upon which the sacada operates. For example, the leader can do a leader front sacada through the follower's front cross; or a follower can do a side sacada through a leader's back cross.

A fourth element of naming a sacada is the shape of the step. There are circular and linear sacadas. If the step is done as part of a turn, or staying in the same general vicinity in the room, it is probably a circular sacada. If it is used to travel in the room, it is probably a linear sacada.

Figuring out how many this is would take someone more structured (and mathematical) than myself.  It's probably been done before; go look on the web and tell me who has figured this out!

Easy vs. problematic circular sacadas for leaders

Easy (OK, less difficult!) sacadas are those which can be performed without breaking any tango codes or causing interesting dilemmas about what to do with dangling/moving legs and feet that now appear to be in the way. We'll deal with those later.

When doing leader circular sacadas, the "easy" versions are those which are done using the follower's front cross step and the open/side step after that. In both of these cases, the follower can continue doing a turn without breaking code (i.e., s/he can continue with the next expected step: front, open, back, open, etc.).

Interesting problems crop up when doing leader circular sacadas through the follower's back cross step or the open step following that step. When doing a sacada through the follower's back cross step, the follower's other leg is blocking from stepping into the next side step (for sanity's sake, let's pretend that this is always true). In this case, a front-boleo-like moment occurs, followed by the natural rebound inherent to boleos. This means that the follower will usually continue with another back step, either linear, or back the other way in a turn (change of direction).

When the leader does a sacada through the follower's open step after the back cross, this also blocks the natural turn progression because the follower cannot step forward with the leader in the way. Doing a sacada through this step produces a back cross step (rather than the expected front cross).

To summarize: if you are just learning these sacadas, ONLY do the sacadas through the follower's front cross and open steps of the turn. Try the others when you are bored/more advanced/feeling crazy.

The leader can do any of these sacadas with either foot to either side, using the leader's front cross, open and back cross steps (ack!). Most sacadas are easier if attempted with a front or open step, as the leader back sacada requires the leader to pivot A LOT and then step through the follower's step moving backwards. Again, only try these more difficult sacadas after you understand how to lead the easier ones.

Follower sacadas

First, you need a follower (I just type foolower--perhaps you need a tango fool?) who is not afraid to step towards you.

Leaders: remember the first day (month, year) you spent getting used to walking towards someone whose feet were RIGHT IN FRONT OF YOURS? The follower gets very little practice stepping towards your feet, and the typical intermediate follower gets nervous when you ask her/him to do that. Be sympathetic and patient!

Followers: here is a major test of your tango powers. You have been carefully trained to do ochos and turns AROUND your partner. Now they are going to lead moves that are very similar, but require a different angle of preparation from you. Take a deep breath. Take a very deep breath. Then, exhale and trust that the leader is indeed sending you where the leader has asked. Try not to "help": follow the leader's torso and angle of rotation. I promise you that this will become easier as you get comfortable. And, if they ask you to step on their toes, please do so :-)

For a follower sacada, the most important part of the lead is to let the torso point where you want the follower to move: the location from whence you came. This is harder than it sounds, but it gets easier as the follower becomes more willing to step into your space.

Next, the follower can step through any step of the leader's: front, back, open. However, in some cases, you will encounter the "leg/foot in the way" issue that I discussed above. As the person in charge, however (we hope!), the leader can either respond to a leg block with a boleo-like motion, or can simply untangle the legs and move on.

The easiest way to do follower sacadas is to move across the line of the follower's momentum, rather than redirecting the follower (these are usually linear sacadas). Because we have only tackled circular sacadas so far, we redirected the follower, either at the cross, or in the turn.

My favorite sacada (and organicity of movement) game

Perhaps this is only because I am somewhat insane from almost fourteen years of tango, but I enjoy taking all the possible moves, writing them down on scraps of paper, pulling them out of a hat, and trying to create new patterns from the steps that I know. If I want to work on a specific step, I'll put that on a scrap: "leader back sacada through follower back sacada, clockwise." If not, I might just put "some leader sacada" or "leader sacada through follower open step" or "back leader sacada" or "counterclockwise leader sacada" or something like that. Then, I'll put some other ideas in the hat: follower gancho, follower front boleo, follower back linear boleo, overturned ocho, etc. I pull three scraps of paper out of the hat, and then I have to do them in that order, with as few steps in between as possible. 

Make sure that you have either a patient dance partner, or someone who also likes to play with tango puzzles and can help you figure out what works best. Sometimes, a combination only works clockwise, or counterclockwise. Sometimes, if you change systems in the middle, it simplifies the pattern. Be creative!

I'm sure I have a lot more to say (as you all keep asking questions in class!), but that's enough brain food for one day.  Have fun!