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!

Trying new things, doing new dances

For the first time in my life, I taught preschoolers today: "folkdancing" classes! I am volunteering at Jamie's school, and he wanted me to volunteer in his classroom, not with the wobblers as I had been doing. So, I came up with the idea to teach dance once a week. I was REALLY nervous all day, and spent the entire day preparing for a half hour class!

I LOVED it! And they loved it! Wow! I jumped up and down on the blacktop of the playground for 30 minutes, and didn't even feel tired.

Not that I was really teaching specific folk dances, but I was teaching dance. We ran in circles, hopped, jumped, counted to four, kicked and shook our booties. We did parts of the Chicken Dance (all but the polka part, which turned into "dance like a chicken!"), the West African Ku Ku dance ("flying, swimming, drumming"), part of Mayim (Jewish folk dance from central Europe), part of La Bastringue from French Canada, some merengue, and open interpretive dance.

A few intrepid souls kept up with me for the half hour: four kids stayed for most of it, and perhaps ten others took part at some time. Jamie was REALLY good about sharing Mom, and joined in a bit before going to climb on the play structure. A few teachers took part; some took pictures; some just watched, but I think I can get them in there next time. At the end of the half hour, and few more hesitant kids were almost ready to join in, so I think they'll dance next week, too.

Here's what I learned today:

• dancing in a circle with 3- and 4- and 5- year olds is like herding cats.
• the kids with rhythm can't stay away from the dancing. Like me, when music starts, they start twitching in place, and move as if in trance towards the music.
• Some kids are just fine with doing their own thing, on their own.
• Some kids get up in your face and want you to watch and appreciate only them.
• Some kids come up and say, "I don't want to dance, so I'm not."
• I like that they can join in or not as they like. I wanted more attention and focus before I arrived, but just dancing in the middle of the playground works well.
• I'm going to repeat the same dances for a while (the supervisor of education suggested a month) and let them get used to dancing and to me before we start anything new.

I LOVE DOING THIS! I can't wait for next Wednesday.

Dance floor navigation: games and ideas

Over the past twenty years, I have collected and created exercises to make navigation a fun challenge, rather than a feared part of dancing, especially for beginners. Although I often adapt drills from my teachers, these games all originated as "hey, why don't we . . ." ideas that my University of Oregon students and my Zen Tango students helped me to work through and refine into the following games. Here are the explorations that helped folks to prepare to dance on the crowded tango dance floor at Norse Hall in Portland, for the Valentango Festival.

These games can be played anywhere, to prepare for any kind of dance. However, Norse Hall offers several specific challenges that I addressed in this class:

• The "wall of death" area of the dance circle that faces the main doors into Norse Hall's main ballroom. As dancers circulate, other dancers all try to enter the dance floor at the same place, creating a navigational disaster area.
• The "legs of death" area in the center of the dance floor, where the dancers who want to dance open embrace fancy stuff vie for space with the beginners who ended up in the middle of the floor and can't escape.
• The overcrowding that comes from trying to fit all the festival participants and the local dancers into one ballroom; there are just too many people in one space, but everyone still wants to dance.

Game #1: Solo-couple

When I did my thesis research on lead/follow roles in the Buenos Aires tango community, I was struck by a story about how tango had changed between the 1980s and current tango practice. Several people told me about going to dance in the late 1980s, and watching everyone in a room move as a unit. They said that they didn't see any collisions, and that everyone dancing seemed to flow together in the space.
I think that the older dancers tuned into not only themselves and their partner, but into the energy flow of the room, resulting in a flow of dance that encompassed all dancers. To recreate this feeling, I made a dance game that encourages tuning into the group first and doing tango second.

Rules:

1. Play catchy music (often I use alternative milonga music to get the group moving swiftly).
2. Ask everyone to move through the space in any direction (clockwise, counter-clockwise, through the middle of the group).
3. Remind dancers to relax arms and hands: no hands in pockets or arms folded in front of bodies, etc.
4. No one can stop for the entire song. If someone is in the way, turn in place until there is space to move, and then move.
5. If a collision happens, exhale and relax to reduce the shock of the crash. Do NOT stop or put your hands up to "protect" yourself: although counterintuitive, this helps protect everyone.
6. When the teacher yells "COUPLE!" the dancers grab the nearest person WITHOUT PAUSING, get into some version of an embrace and dance in normal, counterclockwise direction. If a couple is in the way, the dancers can turn in place until space appears. DO NOT stop to get into the embrace and figure out who is leading; negotiate while moving :-)
7. When the teacher yells "SOLO!" let go of your partner and return to the first section of the game, moving through space in any direction, getting into the flow of the music.
8. Repeat.

I usually call "Solo!" when

• A couple stop and cause a traffic jam behind them.
• The flow of the room gets stuck in some other way.
• Dancers begin to work on particular steps instead of focusing on the energy and flow.

Although I would not follow this game to the letter while actually dancing at a milonga, I find that dancers relax more on the dance floor after experiencing Solo-Couple. They have more fun, and they also learn to tune into the couples around them so that the leader can better gauge the available space. Also, many students have noted that this exercise helps them improvise better in the dance because the available space and energy flow suggest movements to them. One last note: I usually have my beginning tango classes do this in the first 1-2 hours of class. I don't think it is ever too early to build navigation tools!

Game #2: Freeway entrance (entering the dance floor after the dance has started)

In many cases in tango, many dancers start to dance after the music begins for a tanda (set of dances). In a space like Norse Hall, most of the dancers are in one quadrant of the room between dances, and therefore, most dancers try to enter the dance floor in the exact same place, creating quite a traffic jam. This game is designed to gain comfort with entering the dance floor while couples whiz by. To me, it feels very much like learning how to yield onto the highway when I was a beginning driver (eek!!!)

In this game, I put the music on, create a circle in the dance space with chairs, and have each couple enter one at a time, gradually adding in couples.

Rules:

1. The leader creates the space on the dance floor, and the follower enters the embrace quickly, and they go. Followers: DO NOT wander out on the dance floor and wait for your partner, thus creating a moving target for other couples!
2. Once a couple is part of the dancing circle, they have right of way. In the GAME (not in reality), each leader is not supposed to adjust for new entrants. S/he may run right over the new couple if they pause too long and get in the way.
3. After everyone is dancing, any couple who wants more practice may exit and re-enter the space.

At a really crowded milonga, couples do not have the luxury of thirty seconds of creating the embrace, connecting to the partner, etc. Use the first dance to adjust to each other. You will have several other dances in the tanda to enjoy after you settle in.

In "real life" in tango, leaders already on the dance floor DO adjust to folks who have just entered the dance space. As a leader, however, I do not enjoy dealing with an oblivious leader who has just taken my pocket of space and who has not noticed the other couples in the immediate vicinity. I catch the eye of the lead behind and in front of me as soon as possible so that they know I am aware of them and their space.

Game #3: The doughnut (learning to dance in your "lane")

At a crowded milonga, there are established lanes of motion. Traditionally, passing other dancers and weaving in and out of lanes was inappropriate. Today, with so many new dancers, I see a lot of lane-jumping, but I try to teach traditional rules. After all, I am an anthropologist and a dancer, so the cultural rules that go with dance are important to me.

Rules:

1. Make a "doughnut hole" in the center of the space with several chairs (put the backs together to cut down on pain when running into them!).
2. If you like, put removable tape (painter's) in circular paths around this (note: it is a *&%*#@* to take off the floor, so I no longer do it, but it is a useful visual aid).
3. Have 2/3 of the class dance in an outer lane, and 1/3 dance in the inner lane. If you have enough people, do three lanes (in my UO classes, I had 30-40 students, which provided enough for three lanes)
4. Partway through, switch who is in the inner lane. Make sure everyone gets a chance to dance in each lane.

This is not a difficult game. Again, I start to use this with beginners, although I originally thought it would only be useful for more experienced dancers. My theory: if beginners know all the rules, they have a better time at dances and come back more often!

Game #4: Traffic jam: learning defensive leading

No matter how good you get at leading tango, there will always be "problem drivers" out on the dance floor. Learning how to avoid crashing into careless leaders, is an important skill, even for new dancers. This game usually leads to some hilarious situations, but also give tentative leaders more confidence about actually getting out on the dance floor.

Rules:

1. Count off couples into two or three groups, depending on the size of the group (for a class with fifteen people, I make it two groups; for more than twenty, I make three groups).
2. Group #1 dances.
3. Group #2 makes it as difficult as possible for Group #1 to dance. As individuals (or couples, although individuals work better), Group #2 can either:

• stand in the way as a stationery object
• channel one of the most annoying dancers in the area (no names, please!) by either repeatedly backing up into other folks, passing them, doing big adornos to trip folks, you name it ;-)
• aim for the better dancers, narrowing the space around them in order to challenge them to figure out how to to continue to dance in the space.

Groups change jobs: Group #2 dances and Group #1 obstructs. After each round, talk about what worked to avoid the obstructions, what didn't. This is a good time to talk about energy and intention: just as you find space when you walk on a crowded city sidewalk, you find space by dancing with intention, headed in the direction you want.

Other good advice for navigating crowded dance spaces (and if you have ideas for games to work on these, let me know!):

• In one of my first tango workshops, thirteen years ago, Daniel Trenner taught us that the leader "takes the hit" for the follower. I still find this to be true. If there is going to be a crash, I use my body, not my follower's body, to cushion the blow.
• Apologize! There will be some crashes during a crowded dance. If you can meet eyes with the other party involved and mouth "Sorry!" that works.  If not, make sure you apologize after the dance if it could have been your fault. Be nice about it: the only time I think it's perhaps OK to be angry at the other couple is if they did something like off-the-ground boleos into you/your partner or something that shows they were not paying attention to the needs of the other dancers. For the most part, they are trying as hard as you are to avoid crashes.
• Elbows, butts & backs: If necessary, use the available surfaces of your body to make room. Don't be pushy, but don't be afraid to ease your way out of a dangerous situation. As a woman who sometimes led, I was a target in Buenos Aires (and sometimes in the USA) for certain men who felt they should "show me a lesson" and "encourage" me not to lead. They cut off my space, tried to squeeze me off the floor, etc. I learned to squeeze by clearing space with my butt (gently) to get my follower away from such situations. I also learned to read the dance floor space and energy ahead of time to avoid such confrontations. Guys: you don't have to do that, but use my experience to boost your own navigational skills!

What is important in a dance?

I thought choosing a title for my blog would be easy, but after an extended period of time poised at the "blog title" part of the registration process, I have realized how difficult I find it to condense all my beliefs about dance and teaching dance into one word or one phrase.  Why I dance and why I teach dance are subjects that I could fill pages discussing.  You would think that twenty years of teaching (and two theses of 100+ pages) would have forced me to distill this into a succinct phrase, but NO!

I learned to dance at nineteen, way past the age at which most professional dancers begin to dance.  I was told I was "too fat" and "too old" to learn to dance.  I was laughed at by a close relative who had danced since childhood: "You, dance?  That's the funniest thing I've ever heard!"   Later, when I told my family I wanted to pursue a master's degree in dance, widespread panic resulted: "That is an avocation, not a vocation!" my father insisted.  Still, the pull to dance won, over all the voiced displeasure at my choice of occupation.

My first winter in college, I signed up for social dance as a way to fulfill P.E. requirements.  My class was fun, but what really held my attention were the dance teachers and their friends, who stayed to dance after class until dinnertime.  They put on folk dance records, and whirled and twirled and squealed with delight until the last possible moment to get in the dinner line.  I stayed longer and longer, watching them dance, and after a few weeks, they invited me to dance; I was hooked.  I joined the folk dance troupe, kept doing ballroom dancing, and gradually took all the classes available in ballet, jazz and modern dance.  By my senior year, I was dancing twenty hours a week and teaching at school and in the community.

Why did I start dancing?  The intense joy I felt while dancing exceeded any other physical connection I had ever felt.  Moving to music, with other people, filled me with happiness and energy.  The people I met dancing understood my need to express myself physically, and honored that part of me.  When we joined hands to dance, we connected on levels of heart and soul as well.  Dance has provided me with balance in my life, adding flavor and texture to the other parts of my life.

Why did I start teaching?  I wanted other people to experience what I had experienced.  I also wanted more people with whom to dance!  I enjoy teaching adults to dance because I know how intimidating it can be to try something new as an adult.  Many of my students are professionals who excel at what they do in life.  When you are good at everything you do, it is doubly intimidating to try a new thing, something that you might not find easy--and couple dancing means you have to do that in public!  There is no way to avoid making mistakes in front of other people when learning social dance.  My job is to make that learning process rewarding, to create space where it is OK to make mistakes and to guide a new dancer into this adventure that is dance.

So, how do you say that in one word, or in one sentence?  I still don't know.