Using games to find organic movement to build your tango repertoire

Don't just stick moves together!

I often find newer, younger dancers who lead, obsessed by making "hard" combinations of moves, either to showcase their technical vocabulary, or to show off how they can use the music. Sorry, guys, I agree your dance is interesting, but I'm not looking for interesting. I am on the search for sheer pleasure. I want to walk off that dance floor FEELING good, not thinking about the moves you know.

My main criterion for choosing new movement for my leading is organicity. The combination must feel good to the follower and the leader for me to incorporate it into my dancing. What do I mean by organicity? It has to flow, to make sense to my body, and to feel sensually enjoyable.

Harder than it sounds

Your brain is wired to repeat the things you have practiced the most. How hard can it be to break out of the ruts you have created in your dance? Speaking from my own experience, it's not easy.

I know tons of moves. One day when I tried to write down how many moves I know, I got past 100 before giving up. That wasn't even counting combinations of moves! And yet, I find myself doing the same few things, over and over if I tired. "You just did the same ending for that dance as you've done most of the evening!" I scold myself. "Find something new to do!"

I'm not the only one. I danced with one of my students at practica last week, and he kept accidentally trying a move that we had already established doesn't work well for him. He repeatedly tried to vary it, and we laughed about how difficult it is to change one little detail of his usual routine.

When I'm stuck in my habits like that, I know it's time to bring out the tool that I use to construct new movement, find new combos, and shake up my tango: a piece of paper!

Looking for organic movement

BTW, if you are coming to the advanced class tomorrow night, here's your advance notice of what we are doing! We will be playing a game that I stole directly from Merce Cunningham and John Cage's work (thanks, grad school!) that I use to create new material for my tango.

Cut a piece of paper into strips. One each piece, write one move you want to work on. The more precise you can make the description, the more you will get out of this exercise. Then, dump the papers into a hat. Draw three strips out at a time. You must find a way to do the moves, in the order you drew them, with as few steps in between as possible.

If the combination feels good after a few rounds, write it down to work on later. If it feels REALLY good, highlight it or put it at the top of the list. If it feels "eh" or plain old awkward, either forget it, or make a "don't try this" list. Remember that a move might feel bad because one of the partners can't execute that move well; but usually you can tell the difference between "needs more work" and "don't do that" or even "try with another partner later" lists.

Remember, the only criterion for this list of new vocabulary should be: does it feel good?

And the winner is...

Last week in class, I asked people to choose moves to try out in the next hour of class. Some of these are nice and detailed, while others will probably be too open-ended. I found it interesting that the women mostly wanted to do front boleos, while the men chose drags, sacadas, etc. A few of the women in class do some leading, and several of the men follow, but mostly the moves were voted on with a male-female divide! Hmmmmm.

The list we will work with

  • linear drag (barrida/arrastre) between the leader and follower (not necessarily with a weight change at the end)
  • forced cross drag (barrida/arrastre)
  • barrida/arrastre where it looks like the follower is dragging the leader's foot
  • forward parada on leader's right side (either foot)
  • back parada with leader's left leg/foot
  • forward circular boleo with left leg
  • forward circular boleo with right leg
  • forward linear boleo

Come play!

Usually, I ask everyone to switch partners during the class, but this would be a very useful exercise to work on with one specific partner, so if you bring a partner to class this week (we will probably do this for more than one week), you can stay with that person.