Revisiting the "heels up vs. down" debate: walking backwards

A reader asked me to be more specific about how I have changed my tango walk to remove foot and back pain from following tango. Rather than write a comment on a three-year-old blog entry, I decided to have a fresh look at my technique and why I have chosen the tango style that I dance and teach.

Razan, thank you for the question: "Can you say more about walking backwards, i mean what exactly did u change?"

The short answer: video

More detail: body-based is best

The foot

The foot has a lot of moving parts. For tango, there are two main components: being on balance over your arches when not traveling; and rolling through your feet as you travel. Both take a bit of work to perfect.

The arches of the foot work like a springboard if your body weight is correctly placed on the foot. Placing your weight too far forward, onto the metatarsal bone heads, or onto the toes, makes your body work a lot harder to maintain good balance. It is not impossible to dance on your toes, but it will hurt your body.

As I say to anyone who points out some famous tango dancer prancing around on her toes: "If you are a trained ballerina, you can maintain your balance like that. On the other hand, what age do ballerinas retire? How long do you want to dance tango?" Not to mention that ballet, while pretty, is not tango.

Find your feet

Gently massage one of your feet. Find the part of your arch that is the softest/highest. That is what I call the MAGIC METATARSAL. That is the center of your foot arches. It is the keystone of your foot. It may not touch the floor, but if you keep your weight balanced over that part of your foot, you will be using your arches correctly.

Now, put your feet on the floor and walk around slowly. Roll through your foot like a cat. Feel how all the bones and muscles and ligaments and tendons GENTLY work together to make a fluid, strong step. Feel how taking front, back and side steps changes how your support foot "launches" you (I am still looking for a good word instead of "launch" or "push off" that makes fewer people tense their foot to move!).

When you stop traveling, your balance is not a static thing: there are micro-adjustments happening all the time to help you maintain balance. Close your eyes and feel how much variation there is in "standing still" and then try it on one foot: harder, isn't it? Let yourself feel/learn what your feet do to balance.

The ankle

The ankle's main movement is that of a hinge joint. Your ankle is happiest moving forward and backward. The bones of the lower leg, the tibia and fibula, help hold everything together. The ankle does have some movement side-to-side in the secondary joint of the ankle, which helps to stabilize the body over the joint.

For more than you probably ever want to know about the ankle, here's a clear video about the ankle.

How do you apply that to walking backwards?

Watch this video of people walking backwards. Look at how their heel is the last part of the foot to leave the ground when they push off (except for some of the girls in backless shoes :-).

If you let the foot and ankle move naturally, you get a much better step, every time. You will cause less wear and tear on your body per step, allowing you to both dance longer AND look more elegant.

What happens when you get tired?

When you stand up on your toes, you are constantly using more muscle work than when more at rest with the heel down against the floor (or against the heel of your shoe, as IT rests on the floor). Any time that you are using more muscle and work to stay upright, you are working harder. When you add that to standing/walking in heels AND backwards, for hours on end, you are talking about tiring out your body.

When you get tired, you begin to make mistakes. Your core gets tired, and you let your back start to take the brunt of your balancing act. You let your ankles roll in or out, as most of do not have perfectly balanced muscles to keep us from doing our favorite bad habit. After my broken toe this year, I have one foot that likes to roll in, and one that likes to roll out; not pretty if I get too tired!

However, if you put your heels down and use your feet naturally, you will have a lot longer you can dance before you are tired AND you can protect your body from injury better as well.

Images to help you change to heels down

1. Imagine that there is a thumbtack on the bottom of your heel, that gently pushes down into the floor as you roll over your heel (just as you would gently push a tack in with your thumb, to pin paper to a cork board). The floor is soft, like a cork board, so you don't need to tighten your body. Just let the heel sink into the ground (or your shoe if you are not barefoot).

2. Elephant feet: Let your foot be soft and imagine that it is HUGE and can easily hold you up. Softening your feet will help normal foot/ankle motion to occur.

3. Pouring sand: Imagine you are a mold, and each time you step, sand gets poured into the mold. First, it flows into the shape of your foot, then your leg, then you body, and finally to your head. The sheer weight of the sand holds you firmly to the floor so that you don't have to grip your feet.

4. What works for YOU? Tell me!!

A final thought: walking backwards is beneficial!

Walking backwards may actually be good for you! Check out this article and tell me what YOU think!

 

 

 

Tango musicality and inspiration

TED Talks do it again!

I watch TED talks while spinning wool and knitting (some of my other non-tango interests). You know how you type something in, and a few TED Talks later, you are down some interesting rabbit hole of thought? Well, I ended up watching a talk with Benjamin Zander, the pianist and conductor, and realized:

HEY! This is one of the things I've been trying to say about musicality in tango! Phrasing and HOW you use the music, makes all the difference in how that dance feels! What do you think? Watch it and tell me!

Take Jose's workshops!

The Oregon connection

I first met Jose in 1999 when I went to Buenos Aires for the first time. My friend, Alejandro Tosi, had mentioned that he studied with Jose, and it turned out Jose's classes were close to my hostel. I took group and private lessons from him AND I interviewed him for my thesis on gender roles in tango. I hosted him in the USA a year or two later, but he has not had a visa since then. We are lucky to have him back!

Jose Garofalo's bio

José Garófalo was born in 1964. Between 1979 and 1983, he studied art with Guillermo Kuitca. At the same time, he participated in plays, speeches and street actions where dance and theater were integral parts of his creations. In 1987, he started taking tango classes in Centro Cultural Rojas and in the same year he joined the Tango Ballet of the University of Buenos Aires.

He has studied with: Milongueros like Miguel Balmaceda and Nelly, Pupi Castello, Tete Rubin and Maria, Carlos Gavito, Gustavo Naveira, Rodolfo Dinzel. He has trained in choreography with Pedro Calveyra, Graciela Gonzalez, Marcela Trappe and in stage arts with Emilio Garcia Wehbi .

He is currently President of the Civil Cambalache Association (since 2007). He directs the annual Cambalache Festival in Buenos Aires (since 2004). He works as a Tango teacher at the Faculty of Natural Sciences of the University of Buenos Aires (since 1998). He participates in Troesmas research group dedicated to transmitting knowledge of teachers who are no longer dancing in the milongas. He directs the Companía Tragicomica Tanguera (since 2011). He is an artist of Vasari Gallery (since 2007). 

He lives and works in Buenos Aires, Argentina.

Jose's class schedule

All the details are here! I have scheduled workshops at different price points and different levels of tango, in the hopes that everyone gets a chance to at least try Jose out. I think he's great, and I think a lot of your will think the same thing after a lesson or two or ten!

Build your base for ongoing work!

For those of you who (rightly) feel that an hour of a workshop without review or followup is useless, take heart! First, I plan to bring Jose for the next two years, so you can continue to study with him and build on what you learn this year. Second, I will be teaching classes during the year specifically exploring the material from these classes and building on them, so that you come into next year's workshops at a higher level, ready to absorb more!

Savoring tango

If you are eating a great meal, do you shovel your food into your mouth? NO! The cook at music and dance camp saw my son (a favorite allowed into the kitchen to help) shoving his food in, and told him, "Jamie! Respect the food!"

If you were drinking an expensive glass of wine, would you gulp it down? No, you would slowly sip it, rolling it around your mouth to enjoy the flavor, taking your time to experience each taste; to savor it.

If you are experiencing a wonderful tango song, let each step roll off your feet, pause between movements, enjoy being in your body, in this embrace, in this tango. Don't shove moves into your dance! Respect it! Savor it, like a fine meal.

Milonga reviews, Buenos Aires 2016

This is a collection of short reviews by the different members of the group. I did not attend all of the milongas with them, so I asked the dancers to send me short bits I could post as a collage of our experiences. All in all, we covered quite a bit of turf, especially among the afternoon milongas and practicas.

El Abrazo Tango Club

  • Location: El Beso, Riobamba 416
  • Fridays, 2:30-8 PM (lesson 1 PM)
  • Entrada: 80 pesos
  • FB page

This is a low-key venue with a nice intimate feel. The level of dancing is modest. I arrived early and was seated by the friendly hosts in an auspicious corner with good sight-lines. But really, the venue is so small, it would have been pretty easy to make eye contact from any table (at least with my glasses on). The mix seemed to be about 60% porteñosand 40% foreign tango tourists. This is a good place to get your feet wet, as it has a more casual feel than the bigger traditional milongas. (Stevyn)

Milonga After Office

  • Location: El Beso, Riobamba 416
  • Mondays, 3-8 PM (lesson 1:30-3 PM)
  • Entrada: 100 pesos for class and milonga (water 30 pesos)
  • FB page

This was my favorite milonga overall. I went there twice. I liked the instruction at the lessons. The place was tourist friendly. The seating arrangements were made with the intention of getting people to dance. I danced with ladies from all over the globe: Germany, Switzerland, Russia, Japan, Brazil and of course, several porteñas. The teacher, who acted as hostess during the milonga, was active in getting people dancing. At one point she suggested that I dance with a porteña who was not getting asked. I did and it was a good dance. Hopefully, some of the other gents saw her dance and kept her busy the rest of the milonga. As I had to leave for the airport to go home, I don't know how that went for her. (Larry)

Milonga de los Consagrados

  • Location: Centro Región Leonesa, Humberto Primo 1462
  • Saturdays, 4:30-11:30 PM (lesson 3:30-4:30 PM)
  • Entrada: 80 pesos for milonga
  • FB page

This is my favorite milonga to attend in Buenos Aires because I have been going to this venue since 1999, and dancing with some of the same guys for that long, too! For me, it's more of a social event than other milongas because I know so many people. I had my best tanda here both this year and last year (with the same guy). Last year, I had a blockbuster 6 hours of dancing without stopping evening here; this year, because I was with a group, I left a lot earlier. I enjoy having folklore, tropical and swing sets during the evening, so this is a good venue for me. (Elizabeth)

The ceiling fans were quite loud. It was a problem for the lesson, making it hard to hear the instructor, but not for the milonga. The class was good and the teacher invited the students to sit at her table. She was even kind enough to dance a tanda with me at one point in the evening. At the end of the second song, she deemed me to be a milonguero! I got so flustered that I completely screwed up the third song. I found it relatively easy to get dances with cabeceo and had several very good partners during the milonga. It was good that I've learned to dance in small spaces. (Larry)

I was uncomfortable in this venue and did not dance much. The music was too loud for my sensitive hearing, and the "air conditioning" (fans) was uncomfortably strong. The lighting was initially so low that I could not make eye contact. It got better later, but by then I was out of energy. (Stevyn)

Nuevo Chique

  • Location: San José 224, Casa Galicia
  • Tuesdays and Thursday, lesson 2-4 PM, dancing 4-11 PM
  • Entrada: 80 or 85 pesos (I have forgotten!)
  • FB page

This was my first experience dancing in Argentina. I was a little disappointed in that many of the dancers were tourists. However, that led to connections that made dancing at other venues easier. The length of the hall was a little hard to work. I mostly danced with the ladies directly across from me that I could make eye contact with. It was hard to connect with the women in the back seating area unless I got up and was "passing through the area." It was a good get-your-feet-wet dance. (Stevyn)

I often suggest Nuevo Chique as a place to dance for new dancers or people new to Buenos Aires. The level is definitely not super-high, but that means that intermediate dancers will be able to get dances. Also, the average age for afternoon milongas is a bit higher, so it's a good venue for older dancers as well. I had wanted to dance with my husband, but we were not in each other's sight lines. I had worried that he would not get dances, but he danced a lot; so I didn't need to worry about it. (Elizabeth)

La Viruta

  • Address: Armenia 1366
  • Days: Larry went Thursday night, but dancing most nights
  • Thursdays: 6:30-midnight classes, practica midnight- 4 am
  • Cost: includes class and practica

The first place I went was a late night practica at La Viruta. It was a total bust. I couldn't get anyone to dance with me. I was quite concerned that this would be the norm in Argentina. Happy to say this was not the case. (Larry)

El bailongo de la Glorieta

  • Location: Echeverría 1800, in the park at the bandstand
  • Time: Class from 7-8:15, dancing 8-11:30 PM
  • Days: Dancing happens here a lot, but we went on a Wednesday
  • Cost: seemed to be by donation

I had not been to La Glorieta since 1999. It is mostly the same, but I enjoyed the warm summer weather, as I used to go in the winter, all bundled up! They put everyone's belongings in the center of the floor and danced around them; a good way to avoid theft! (Elizabeth)

This is a beautiful outdoor venue. It is like the one in the Peninsula Park Rose Garden in Portland, Oregon, but much larger. The sound was good, the floor was good and the dancers were willing to dance. I had probably the best dance of the trip with a lovely dancer from Buenos Aires. She tried to say I had a good ear for the music, but she couldn't think of the word in English (haha). (Larry)

La Marshall

  • Location: Riobamba 416 (El Beso)
  • Fridays, class 10:30, dancing 11:30
  • Cost: 90 or 100 pesos (can't remember!)
  • FB page

This is a wonderful late night venue, mostly queer, with a surprisingly good mix of both gay men and lesbian women, but obviously welcoming to all comers.  The level of dance was high and a bit intimidating, but I really enjoyed myself and look forward to going again. (Jessica)

I went to the lesson with Jessica, and stayed for the milonga. There were only five women, and I danced with all but one of them. Last year, there was a lot of dancing between the men and the women, but not this year. Because no one is entirely sure who is dancing with whom, cabeceo is really difficult at this venue (Are you leading? Following? Both? confusing). The lesson was good: there were total beginners up to advanced dancers, and Augusto managed to provide a two-level lesson, with additional things to try for those of us who were advanced; I know as a teacher how challenging that is, so good work! (Elizabeth)

Muñecas Bravas (Laboratorio femenino de tango)

  • Address: Tucumán 3428 (La Maleva)
  • Mondays, 5-8 PM
  • FB page

This is a very special fun event and hands down my favorite. It is a very small afternoon venue, 10-15 women, with a focus on exchanging lead and follow. It was very friendly, with shared mate during brief rests in between lots of dancing and a ton of fun. (Jessica)

 

Canal Rojo Tango (Salon Canning)

  • Address: Av Raúl Scalabrini Ortiz 1331
  • Wednesdays, 4 PM - 1 am
  • Entrada: I forget :-) I think it was 80 pesos

I went to Salon Canning twice. The second time I went to Canal Rojo with my wife and I was able to get dances after she left to go to the opera. (Larry)

I went to Canal Rojo after a few friends reminded me that they had not seen me at Canning yet this year. Although we left early to go to another venue, it was fun to go and dance for a few hours. The level is definitely lower than it used to be, but I think it's because the guys I know are aging and have less mobility than before. One guy I had met at Los Consagrados this year, came and grabbed me for a few tandas of really nice music and those were my best dances of the afternoon. The woman sitting next to me wanted to talk about the political situation in Argentina to the extent that I finally left, because I couldn't cabeceo and hold a conversation at that speed and complexity in Spanish, at the same time. (Elizabeth)

 

La Gran Milonga Nacional

  • Location: on Avenida de Mayo, between Avenida 9 de Julio and the Casa Rosada
  • Cost: free!
  • Three stages of live music, tango performances, etc.

We went over later in the evening. The venues were far enough apart to keep the sound separate. The dance floor space was very limited, but I did get a dance with Elizabeth on the asphalt. There is video so it did happen. LOL. I really enjoyed some of the orchestras, but it was the kind of place that you probably had to bring your own partner if you wanted to dance. (Larry)

I went over to the festival earlier in the evening with my husband. We listened at the various stages, and danced in the street together. I returned later in the evening with some of the other dancers and did some more dancing. Unlike other years, I didn't go up on the stage to dance; because the other women didn't want to dance, I couldn't dance with all the guys at once ;-) (Elizabeth)

Parakultural (Salon Canning)

  • Location: Av Raúl Scalabrini Ortiz 1331.
  • Tuesdays, 7-9 & 9-11 PM, classes; dancing 11 PM - 4 AM.

I went by myself and I couldn't get a dance, but the class was good. (Larry)

I went to a very cliquey milonga yesterday at Salon Canning. It was still fun. The women and the dresses were gorgeous, the skill level was very high. I took the class prior for intermediate and advanced dancers and it was tough but fun! I only danced with [the friend of a friend who took me there]. I certainly tried to cabeceo others, but guys were avoiding prolonged eye contact with me. I still enjoyed the people watching. (Felicita)

 

 

Lateral crosses and pivoting traspies: Round 3 for the milonga drills!

Adobe seems to have finally fixed the glitch for uploading to YouTube, so I can finally publish my newest video!

It's been a rough week here in the USA in many ways. Here's something to work on to take your mind off the rest life for a few minutes! I will post more tips later on, but with the Buenos Aires tour in less than two weeks, I am running full speed ahead planning events for that; so please forgive me for just jumping to the video.

 

Corridas and toquecitos: technique for milonga excellence

Milonga is perhaps my favorite dance in the entire world (tango, cover your ears!). I love the groove of the dance and the simplicity/challenge of playing with syncopation instead of the more varying syncopation, pauses and slo-mo possibilities in tango. Many dancers who come from other rhythmic dances, find milonga easier to approach than tango.

However, because of its speed and the need for smaller steps, milonga can be more challenging than tango to reach a level of excellence. It is SO easy to abandon technique and just clomp through the dance, panicking at the needed speed of each step.

I have just taught six weeks of milonga technique in my beginning, intermediate and advanced classes. The Body Dynamics class has been focused on small steps, elegance and speed for the session as well.

Corridas and toquecitos

Corridas

Corridas, or "runs" are a series of fast, small steps that can be moving forward, backwards, or laterally. Corridas are also done in tango and vals, and have the same considerations there.

For forward or backwards steps, the main issue is making the fast (syncopated) steps feel comfortable. Remember:

  1. Take quick steps that are half as big as the regular steps.
  2. Get your heel down on each step to balance yourself for the next step.
  3. As you shift feet, keep your knee and hip alignment so you have cushioning.
  4. Core, core, core! Engage your deep core to make a dynamic step your partner can feel.

For lateral steps, a lot of people find the errors in their normal side steps are magnified by going quickly! Focus on:

  1. Rolling through your foot on both the step traveling to the side, AND on the step in place!
  2. Letting the natural shift in the hips happen when you change feet. Don't keep your hips flat to the ground!
  3. Keeping the knees soft.

Toquecitos (little touches)

Toquecitos are adornos that work really well in milonga. BE CAREFUL to avoid overdoing them. I distinctly remember one woman who was dancing when I started in 1995: she sounded like she was tap dancing! Don't be that person ;-)

That said, toquecitos that are soft and get your feet under you can be used as what I call a "functional" adorno: something that improves your technique, rather than just an ornament.

Toquecito tips:

  1. As one of my teachers used to say, "Don't kill the cockroach!" Just tap lightly.
  2. Use the ankle muscles so that the movement is the whole foot.
  3. Think of using it just before you move, rather than step and tap. I think of it like a downbeat: "And, go!" instead of "Step, TAP!" which is too loud/harsh.

 

The video

Exercises for fabulous boleos: the video

The origins

When Guillermo di Fazio was in Portland for Valentango, I had the chance to study privately with him. I am very interested in the style of the old masters, so when he announced a class on Todaro's style/combos, I was very excited. Unfortunately, I had to work at the time of the class, so I contacted him, requesting private lesson time.

During my lesson, Guillermo taught me:

  1. the material from the Todaro class.
  2. all the material he had hoped to cover but had not.
  3. another Todaro combo that occurred to him while we were working.
  4. drills to prep the leaders for the combinations we had worked on.

I really enjoyed dancing with someone who could lead me in the combo, and then follow well, so that I could try the same thing that I had just followed. I learn best this way, and am happiest with a strong teacher who can do this well.

My brain completely full, I sat with my camera, rewatched the lesson and took notes until all the info was on paper and on film. Although I lose some of the information, that way, the maximum that I CAN retain can be found :-)

Crack balls, KNIFE!

As is my habit, I share all information I learn with my students. I don't see a purpose in withholding information to make people wait, or pay more, or to keep my level higher. That's my main complaint about dance schools with prescribed levels--you know what I mean.

Anyway, by teaching new information, I can see how much of it works for dancers at beginner or intermediate or advanced levels, what other material they need in order to be able to do the movements; and how I can best explain it so that more people get it faster. Body Dynamics (for those of you in Portland, this is my 7 PM Monday class at Om Movement Studio) gets all my new material, as it preps for all levels of my group classes.

The men in the class were taken back by Guillermo's suggested instructions of "Crack balls! Knife!" to explain how to swing the leg across the body, pivot, and stop abruptly, on balance. The women just thought it was funny. I have since changed how I describe the movement.

Adapting drills for other purposes

As the Todaro combos proved too difficult for my students to actually do, I started to look for other applications for these drills. I broke down the exercise into easier parts, and working up to the full effect.

Immediately, I noticed that these drills were really about having good balance while one leg was completely relaxed and moving quickly, followed by pivoting on balance. Hmm...this seems to be the same info needed for doing good follower moves that require loose legs! I made last week's video to show how this can benefit followers.

 

In addition, there are a lot of possiblities for the leader to add into other moves, if s/he is sooo on balance that flicking the free leg around does not inhibit a clear lead. We have recently been playing a new game I call "Crazy legs" that incorporates the leader playing with this while the follower does turns.

Go watch the video, do the exercises, and come to class!

 

 

 

 

Ankle and foot stretches and strengthening for tango

Just the video, ma'am!

For those of you who don't like to read, here is the video, right at the top where you can find it!

A big thank you!

Thanks for all the nice /website messages about my last video! So nice that all of this work learning to shoot and edit video is helping other people. As a shy person, it is VERY hard to turn that camera on. Don't be fooled by how much I talk: I talk a lot more when I am nervous! For me, this is almost as awful as those dreams where you realize you don't have clothing on in a public place...

It's been fun to (re)connect with dancers from all over the country. I was thinking about working on my ocho video, but a viewer asked me about ankle strengthening exercises (Hi, Lisa!).

For those of you who don't like to read, I will try to talk through most of this on the video; but some of us still like the written word!

My ankle history

As a child, I was always the person twisting/straining/spraining my ankles. I constantly rolled over the sides of my feet and hurt them. For those of you who know me well, you know I have almost zero stereo vision, so part of this was due to not being able to see very well. However, I also inherited my mother's weak ankles. I remember Mom driving to school to tape my ankles so that I could run track (my school required all of us, even us slow folks, to take part in track meets). I always seemed to have ace bandages on.

I didn't get stronger ankles until I took about six years of West African dance in grad school and afterwards. By the time I got serious about tango, I had strong ankles.

Now, after my foot injury, I am just beginning to put my 9 cm. tango stilettos back on, and I notice that my ankles are not as strong as previously. In the video clips that follow, I will show you how to stretch and strengthen your ankles so that YOU can wear tango heels and not get injured.

Foot & ankle: 26 bones, 31 joints, 20 muscles

A complex system of bones, ligaments, tendons and muscles holds us up and moves us around. No wonder we have so many foot and ankle issues!

Warm up first!

Get the blood flowing in your system before doing stretches and strengthening exercises. Even if you just go walk around the block, that will help you protect your body while improving your tango. I usually do arm and legs swings, as well as twisting around my body, before I start stretching. If I don't walk to warm up, I do ankle circles right and left before stretching.

Part 2: Stretch!

The first part of the video shows gastrocnemius and soleus stretches. Those are the two big calf muscles. They share the Achilles tendon across the back of your ankle. If your issue is lack of flexibility, spend MORE time on this, and less on the strengthening exercises. Remember that it takes 1.5-2 minutes for the microfibers in your muscles to allow for a full stretch: they are there to make sure you don't tear and rip muscles.

Part 3: Massage your feet!

Use a massage ball or golf ball to get your plantar fasciae in gear. That's the layer that encases your muscles on the bottom of your foot. You can also massage your feet: we do this in Body Dynamics almost every week. Consider doing this also when you take your heels off after dancing, ladies!

Notes: keep your foot over the massage ball, so that the weight of your leg helps apply pressure to the sole.

Part 4: Stretchy bands are your friends!

The video shows the first of three parts of a leg and ankle stretch that we do in Body Dynamics. The rest of the stretch addresses other leg muscles, so I left it out for brevity. You will see it some other time!

Part 5: Towel exercise for foot strength

I spent a lot of grad school going to PT and getting my feet taped so I could dance as much as I needed to for my M.A. in Dance. I have learned a lot since then: in my 20s, I saw that as a necessary evil, but never really did my strengthening exercises. I just thought I would have weak ankles my entire life! My feet and ankles are much stronger now in my 50s, thanks to hard work!

Part 6: The alphabet, foot style

Fine muscle control in your feet will help you do fabulous adornos and have precision in your tango. Drawing the alphabet with your feet works the muscles you need for that. Have fun: do different alphabets, draw them upside down or backwards, write whole words--whatever works for you. I usually try to remember the Cyrillic and Arabic alphabets from my grad school studies.

Part 7: Lateral ankle strength stretchy band work

You need a friend or a heavy piece of furniture for this one. Loop a stretchy band under a chair, sofa, bed, or have a friend hold the other end. Make sure you get enough tension on the band to have a good workout, but don't overdo it. I almost always end up moving closer to the piece of furniture than I start.

The most important part here is to STABILIZE YOUR KNEE. You don't want to work the whole leg. The better you line up your knee, the more the ankle gets focused work.

Hope this is helpful!

 

 

 

 

Improve your tango: stretch your hips!

As I come back from my foot injury, I am noticing that MANY parts of my body are more out of shape than before. I have made a commitment to stretch more as well as to work out more; at least until I am back in shape!

Hip stretches

Stretching my hips was one place where I was slacking, so now I am back on it. Here are a set of hip stretches that I learned from Rita Honka when we were in grad school. It's an oldie but goodie.

Try this and let me know how it works for you!

Saving time in your workout

This stretch sequence takes about 16 minutes if you do it correctly. Many days, I don't have that much time, so I only do one or two parts of the stretch. I am very stretchy in two of the four stretches, so I only do those when I am leading the stretch for other people.

I have found that most people are stretchy in at least one part of their hip. If you find that the stretches in the video are too easy in places and really hard in others, concentrate on the hard ones, and let the easy ones go for a while. This saves time and also focuses on problem areas.

Rebuilding my feet: foot care & body alignment

I am trying to do a weekly vlog, as sometimes it is MUCH quicker to show something, than to try to explain it in words!

This week, I wanted to show a quick body alignment reminder, followed by some foot stretches and foot care ideas to help you dance longer and more often, without foot pain.

For those of you who are local to the Portland, Oregon area, I teach a class called Body Dynamics, where we do stretches, exercises and games that help build body strength for tango, while practicing tango technique. I teach at the Om Studio, 14 NE 10th Ave. (off Burnside), and class is at 7 PM on Mondays. Both women and men are welcome, and I tailor the class to the people who take it. Please bring socks and your dance shoes, and dress in clothing that allows you to sit/lie on the floor.

 

Rebuilding my feet: I miss my tango heels!!

Update

Six weeks in a boot certainly affected my foot and ankle strength! A month after getting out of the boot, I am still not back in my beloved heels. Luckily, my chiropractor and trainer (same person) understands that heels are in my future, and has given me strict instructions about what I will have to be able to do before he OKs stilettos.

Even if you have not had a foot injury, if you have had trouble wearing heels before, you might try the exercises I have described below, to build your foot and ankle strength. If you tend to roll in or out, or end up on your toes when you turn, these will help build your arch muscles up to help with stability.

Exercises

The easy version: one-minute balance

The first exercise was to balance for a minute on the half roller, on one foot. No problem! I do this all the time...before the injury. It took a week of doing this to be able to get up to a whole minute without pitching off.

The important parts:

  • Make sure to spread your toes
  • Keep both margins of the foot down (you can see here that I am still tipping away from my big toe a bit)
  • Breathe! If you don't breath, you fall off by 30 seconds (ask how I know).
Balancing for 1 minute on the half roller, easy side up.

Balancing for 1 minute on the half roller, easy side up.

Slightly harder: roll with the punches

Once I could balance on the easy side, I turned over the roller. After two weeks of practicing, I can now stay up for a minute. As you can see, my big toe is still not spreading out the way it should, so those muscles are not completely back to where they were before. I am wearing Correct Toes (toe separators) to help train my toe back to a good position, but not in this picture.

Important points:

  • Same as above, spread toes, keep margins of foot down, and breathe.
  • Make sure that you are stacking your hips above your foot correctly and engaging your core.
  • Keep your hips in balance front-to-back and side-to-side. Movement is OK: don't clench anything!
Balancing for 1 minute on the half roller, hard version.

Balancing for 1 minute on the half roller, hard version.

Look Ma, no hands!

Now that I can balance with one foot, I have added some kind of surfing thing to the mix. This requires me to get a good lineup for my feet, and then to (eventually) be able to touch my back knee down and stand back up while doing this. THAT is not happening yet, although if I use the flat side of the roller against the floor, and can do about 10 reps of knee half-way to the floor.

BOTH feet on the roller, hard side up.

BOTH feet on the roller, hard side up.

Total alignment

This was fun to try to photograph solo. You can't see the mouse on the table :-) I had to balance, hold the stick, get aligned AND shoot the photo at the same time. This is the same exercise as above but showing the whole picture

Important points:

  • Feet should be a forearm's length apart.
  • Weight should be shared between the feet (I was putting too much weight on my good foot and my quads were sore the first time I tried ten of these).
  • Back of head and back of sacrum should make a perpendicular line to the floor (can check with a mirror/friend and a dowel).
  • Core is working like crazy.
  • From this pose, you gradually bring the back knee to the floor and back up.
VERY important to keep the head and butt on a plumb line, perpendicular to the ground.

VERY important to keep the head and butt on a plumb line, perpendicular to the ground.

What having a broken big toe has taught me about my tango

The saga

The bad news

About a month ago, I got kicked by an enthusiastic dancer. It hurt a lot, but I carried on teaching. The next day, another student (a doctor) felt my toe and told me she couldn't feel a fracture. I kept on teaching, but mostly danced in socks for the week.

I went dancing a week later, in heels as usual. After about three tandas, I couldn't dance anymore. I figured that, after teaching five hours, I was just tired. However, another week in socks, and another attempt to dance in heels after the second week, ended the same way. I felt a sharp snapping feeling in my toe, and couldn't pivot anymore.

My husband insisted that I go to urgent care, where they xrayed my toe, told me they didn't see a break, and sent me home in a boot with my big toe buddy-wrapped to my second toe.

The next day, the doctor called to say that the radiologist "might" have found a fracture of my toe. Two days later, they confirmed that my toe was broken. My chiropractor, who works with Oregon Ballet Theatre dancers, read me the riot act, and made me promise to cut down on teaching, as well as to wear this (stupid) boot for six weeks.

I am two weeks into the six weeks. I figure that I probably re-broke the toe at least once before wearing the boot, so I am counting the break from the Xray day, rather than from being kicked. I am NOT a good patient. I push my body. I am still teaching about three hours a day, six days a week. Being self-employed means that I don't have workman's compensation for injury on the job, and I don't have sick days or paid vacation; so I work.

The good news

I am getting a lot of help from my students. Some are coming to classes with a partner instead of solo. Some have switched to every other week to rest my foot. Some are helping out with my dance classes. I really appreciate it!

That's the only good part when I'm in a grumpy mood about my (stupid) foot.

I can still lead!

All of those years of learning moves to the right and to the left, using either foot, have finally paid off!

I can't pivot on my left foot, and the boot doesn't let me articulate my left foot BUT I have found that I can mostly lead as well as without the boot. When I need to pivot, I use my right foot. If I need a really good VROOM! of energy to get the follower to do something, I start on my right foot. I don't even really have to think about adjusting moves because of years of training lead and follow, on all my moves. I know

Simply from having learned to dance from elderly Argentine men on the dance floor, I can see how less than stellar posture and technique can still make a good dance. I focus on the follower and being clear (as usual), and I adapt my dance as needed.

I like that my core strength and my balance allow me to do a lot of my giros and other pivoting moves, on one foot. All those hours of balance training have paid off too!

Following is harder on my body

I don't think this is always the case, but without a left foot that pivots, I have to work a lot harder to get to where the leader needs me to be, without causing trouble for the leader. I have developed ways to cheat that I have not had to ever use before. It's not as easy as leading, where I have the choice of where the dance is headed, and can avoid pivoting when needed.

The injury certain shows me that I have been dancing over the center of my arch, using my metatarsals instead of my toes. If I danced on my toes, I would not be able to dance at all right now. Thank goodness for healthy technique!

My chiropractor said that he was surprised that I wasn't out of alignment, between the broken toe and the awful boot. He said it must be due to my good walking technique. He also said he is always amazed at how healthy my feet look despite wearing heels a lot, and agreed that my technique must be strong.

No social dancing for six weeks??!!??

Go out and dance a tanda for me: I can't go out social dancing until this is over. It's just too painful to watch everyone else dancing when I can't. Sigh.

At least I can still teach! I think I would go crazy without any dance. I have four new class sessions that start this week. Lots of plans, lots of enthusiasm, lots of frustration that I can't show everything the way I would like to show it.

 

 

 

Buenos Aires Tango Tour: designed for YOU!

Not your normal tango tour!

This is not your normal group tango tour! This tour is designed for people who don’t want to go to Buenos Aires alone, but don’t want to be shackled to a group 24-7. As folks are signing up, I am incorporating their requests into my plan. If you want to go everywhere together in a group, this is probably not the right choice for you. If you are more adventurous, or looking for something really special, this is for you.

This tour will be limited to twelve people. I feel that you deserve quality work from me, and that means individual attention and help. One spot has already been reserved. There is no minimum number of people: we are going!!

What do YOU want to do in Buenos Aires?

I have been going to Buenos Aires since 1999. Those visits have provided me with a lot of local information, friends, contacts, knowledge of the dance scene, and love for the city. I am putting all of that experience to work for YOU!

This is a tour tailored to your personal goals for Buenos Aires:

·        Do you want to dance every day/night? I can help you choose the best places for you to dance, based on your level, your dance goals, etc., and help you make reservations to get decent seating.

·        Do you want to find group or private tango lessons? I will help you make appropriate choices, get you there, and even help you locate a practice partner/dance partner if you want one.

·        Do you want a “taxi dancer” (Buenos Aires dancer who accompanies you to milongas)? I have several good sources for great folks who won’t cheat you on prices.

·        Do you want to see the sights? I will organize daily excursions to fun places that you can choose to do, or do your own thing. I will also be organizing trips to folk dancing, museums, Teatro Colon, and other cool places you don't want to miss!

·        Do you want a Spanish tutor? I will find one for you!

·        Do you want to a cultural exchange? My friend (who is an English professor) is coordinating with me to give her students chances to practice English, while YOU get a native tour guide around the city.

·        Do you want to shop until you drop? I can aim you in the right direction, go to shoe stores with you and translate for you, etc. The “outlet mall” area and wholesale district are nearby!

The dates: Dec. 2-12

I am timing the tour to coincide with the National Day of Tango is December 11 (Carlos Gardel’s birthday). To celebrate, they hold a huge street party between the Congress building and the Casa Rosada (the president’s house), with live bands, dancing in the street and performances. I went in 2012 and 2015, and had fun both times. As it occurs right before summer solstice, everyone is out celebrating the start of summer as well. If you want to come a day early, or stay after the tour, etc., that is up to you; the dates can be semi-flexible.

Cost

Last year, I spent two weeks in Buenos Aires, researching hotels, locating the best current milongas, trying out teachers, and finding a good neighborhood for us to stay. I will be available 24-7 during your ten days in Buenos Aires, as well as making shoe shopping trips, milonga excursions, etc. available each day for you! It’s a lot of work, but I am excited to share my favorite city and dance with all of you, and I want you to have the best possible experience of Buenos Aires, so that you want to go back on your own!

The cost is $1200/person for my services during the trip, my pre-planning, and any individual scheduling and help that you need before and during the trip. You will pay the hotel, airfare, food, tango shoes etc., on your own.

If cost is an issue, please talk to me before deciding not to go.

Flights

I usually fly through Houston, as that is the fastest flight time. Usually, Economy is fine. However, I suggest that you DO NOT buy Economy on the United Dreamliner: I upgraded to Economy Plus on the way home, which was OK. I know some of the people planning to go have miles saved on various airlines. I willmake sure you get from Ezeiza Airport to the hotel, but it's up to you to get to Argentina :-)

Visa

There is no visa needed to visit Argentina as a tourist for under 90 days, BUT it is now required that you pay a reciprocity fee before leaving the USA. Luckily, this is much easier than it used to be. You can buy it via the Argentine Embassy online. The cost is $160 USD, and it is good for ten years. You will need proof of buying your visa in order to board the plane to Argentina. Lots of information is available from the U.S. government online.

Airport transport

I will make sure you get picked up at the airport by a reliable person. If you can arrange to fly at the same time as someone else, you can split the cost. It cost $45 in 2015, and will probably be about that. You can pay in dollars or pesos.  I will also set up your return trip to the airport when you leave, unless you prefer to do so yourself.

The hotel

I will be staying at 5 Cool Rooms in Palermo. I suggest you also make reservations at 5 Cool Rooms (Honduras 4742, C1414BJV Buenos Aires, Argentina) via Expedia or another travel website. It is air-conditioned, has free breakfast (which can be gluten-free), a Jacuzzi and 24-hr. front desk security. It is near Starbucks for those of you who need your American hit of home (& second free WiFi spot). We can walk to 5-6 milongas in the neighborhood. There is a gluten-free restaurant/bakery nearby, and tons of little restaurants! If you prefer something more exclusive (there are some very lovely, very expensive hotels nearby) or something cheaper (AirBnB), I can help you make good choices about locations.

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.

 

 

 

Next year: come with me to Buenos Aires!

Next December, I will be returning to Buenos Aires, but not by myself. I am organizing a tour.

 

Why a tour?

I have lived in third world countries and traveled by myself to several continents. I am not brave by nature, but I have found that buying a non-refundable ticket prevents me from freaking out and cancelling my trip. I have been lucky to have had many opportunities to step out of my comfort zone.

I studied in Germany during college, and traveled around Europe by myself afterwards. I found that I could survive on my own (even if I mainly ate tangerines, cheese, bread & chocolate as a poor student). Starting off with a group and studying German, gave me a focus and some practice before I headed off alone.

I signed up for Peace Corps on a whim, and spent two beautiful years in Morocco. Again, being with a group, receiving orientation and language training, and knowing that, if anything bad happened, someone would help me get home--helped me on an adventure that I would not have tried alone.

I traveled to Buenos Aires for the first time in 1999. I went alone, but I knew several people who would be there. A friend picked me up at the airport and let me stay overnight until I found a pension. Another friend went to milongas and classes with me until I felt more relaxed.

I returned to Buenos Aires on my own, and then ventured to England and Spain by myself. Now I tend to travel by myself, but going with groups and then with a helping hand, aided my globetrotting.

I learn languages easily, which helps me meet people during my travels: if you like to talk as much as I do, not being able to communicate is way more frustrating than tripping through a new language. It has helped me meet new friends on each trip I have taken.

Many people are hesitant to venture into a new place by themselves. Whether it is a language barrier, a preference to travel with other people, food issues--it can be scary to just into an adventure alone. Going with a group of people can ease the stress of a new place, giving you more time to enjoy your trip.

Why with me?

I love this city! I love these people! I love tango!

I have now been to Buenos Aires seven times. This tour will be my eighth trip to the city.

This city is mine! The first day I spent in Buenos Aires, I just walked around all day, feeling at home. This city runs the same speed that I do. Each time I visit, I try out new milongas, go to new cultural events, walk to new neighborhoods, and have new adventures. There is always something new to do in such a large place. I don't get bored.

Having lived in the third world, when things don't go smoothly in Buenos Aires, I can stay calm. The lights go out in the milonga because too much energy is powering the air conditioners? No problem! Let's go to a different milonga! The bus doesn't come, and then four come in 5 minutes? Yes, that's how it always is, so let's walk! The subway is inexplicably closed? OK, it's taxi time. This is not the first world in some ways, so a sense of humor is needed when things go awry, but I am used to it.

I want to foster a love of the city, of tango, in you. I would love it if you use this as a first step to traveling alone! I am not trying to build a group who will need me to take them every year :-) I hope this will help you explore things that would be too scary on your own (or more fun with me!).

December 2016: put it on the calendar!

For those of you who have been reading my blog, you will know that I just got back from a few weeks in Buenos Aires, which were for the sole purpose of setting up the tour in 2016. I have group classes set up, a hotel, cultural exchange with students who want to practice English, connections to set up Spanish tutors for those who want to polish their language, a list of places to visit, and a bunch of fun milongas to go to, either together or in small groups.

I have helped dozens of people prepare for their first trips to Buenos Aires. Now it's time to TAKE people there myself. If you want to have fun, go somewhere with someone who absolutely loves that place. The enthusiasm rubs off.

I am only taking 8-12 people with me. I am still figuring out the pricing, but I am aiming to make it as cost-effective as possible. I hope this weekend to sit down and hammer out the details more fully, so that you know what to expect. The plan is December 1-14, perhaps leaving the last day of November to make a full two weeks in Argentina.

Come with me!

 

La Gran Milonga Nacional 2015

I missed part of the Gran Milonga because I went . . . to a different milonga first! It looked like rain, and everyone said, "Oh, too bad, the milonga in Avenida de Mayo won't happen this year." So I made a backup plan: go back to Los Consagrados for a few hours, then see if the weather cleared up. The milonga was really empty compared to normal: some people had bet on the weather being better than I expected, and were off dancing outside.

Five hours later, I staggered out of Los Consagrados, having danced more than enough. That place is really good for my ego. On the way out, three men stopped me to ask my why I hadn't looked at them, and wouldn't I like to do one more tanda? Ah, fame.

Kent, Sara and I went to La Continental for a quick dinner because all three of us had just danced for about five hours. Then, we headed out to the milonga in the street around midnight. There were not that many people, but it HAD started four hours before (oops!), and the rain had only sprinkled, so nothing had been cancelled after all.

We listened to a few singers, did silly Rudolph Valentino imitations in the street, and then danced a bit. However, the choice of pavement or plywood stage, after hours of dancing on a really good floor, made us choose to only dance a little bit and to listen more. I joked that my minute of fame up on the stage in 2012 was enough for me!

However...

Next year, Portland, let's go wreck our shoes out there at the street milonga!!! Have I got a tour planned for you, and we will be out there dancing!

My video editing skills are still super-beginner, so please forgive the strange glitches :-)

La Marshall: relaxed milonga and great performance!

  • Riobamba 416
  • Entrada: 80 pesos (including the lesson)
  • Bottle of water: 28 pesos

"Celebrating 12 years of the milonga. Dance performance by Augusto Balizano & Claudio González."

La Marshall is one of the gay milongas. There is a mix of young gay men, older women in couples, and people who like to switch lead and follow. Note to the Portlanders: the Lumbersexual style has hit Buenos Aires, but I only saw it at La Marshall: full beards, suspenders, work jeans and checked shirts!

The dance performance was FABULOUS! Two excellent dancers, good choreography, and very touching as a theatre piece. Two seemingly old guys, shuffle out on stage, take quite a while to adjust themselves, figure out who is leading, etc., and then dance a tango in the grotesque tradition: moves just slightly out of control or staggering, catching themselves at the last minute from falling, etc. I know how hard it is to dance like stiff old men when you are a good dancer, so this was impressive.

THEN, when I thought it was over, they played a romantic song that several of the guys (the lumbersexuals) next to me sang along to, with a chorus about remembering a year of love. While the music played, the dancers took most of their clothing off, wiped the old-guy makeup off, and put stretchy muscle tees on.

And THEN they danced an incredible, acrobatic duet. WOW. Lifts, boleos, lightening fast turns. WOW. As a dancer, I know how much work went into that choreography. It looked seamless, beautiful, and muscular at the same time. It didn't seem just sewn together like a lot of tango performances do to me. I'll just keep saying WOW.