3 Things Tango Leaders Want More Of From Followers

[@TangoSpace]

👋Tango Dancer Not sure how to dance confidently in crowded milonga? Need help adapting the steps you learn in classes to small places? Watch this FREE mini-course from Pablo & Anne and learn the 10 easy steps that will make dancing tango in crowded milongas easy: bit.ly/3JosuQl

[@francissantos7448]

This is the most appropriate upload ever in my tango journey. I just started learning to lead others besides my wife. All 3 concepts are spot on.

[@florianbauch3581]

How true. While for some leaders dancing seems to be a show-off thing, the same can be true for a follower. When a follower is "guessing" the mind of the leader and autonomously takes over control and completes the suspected movement associated with 15sec. of wildest embellishments, this can be really scary for a leader ;-) The same attention that a follower can expect from a leader should be paid to the leader to create a feeling of unamity. It's about communication and taking care of each other. A far as timing and speed is concerned a leader might want to freeze or delay a movement and play with musicality in which case an "overactive" follower might disturb the beauty of the moment. Nothing is wrong about in independent follower but to me, a mutual consensus of the roles comes first. Enjoy

[@chuckiemeister]

Excellent video and write on target!! ❤️

[@iqbalmobarik2000]

Thanks Pablo and Anne , I really understood what you meant that Tango is not just lead and follow but is a conversation. As in a conversation you get a balance between talking and listening in both directions. Since you used the term in a class I have tried to implement the concept and it has made a huge difference! Thanks

[@ruthspurlock6577]

I love watching you dance. Your movements are so fluid.

[@nouramoustafa7898]

Thanks .. so helpfull vides

[@maggicollins4607]

Excellent!

[@chuckduzzie8529]

A thank you once in a while would be nice

[@VladTsyb]

Hello. I like what you do, but I'd like the music to be newer.

[@backyardrailroader]

As for this post, while I am on the dance floor as a beginner, I have limited dance movements. Usually the first song is finding out what type of dancers we both are., with the second making adjustments to adapt to one's dancing style and experience.

[@VillaLaRogaia]

Limited dance movements are no problem at all if you dance nicely and simply to the music. Women in the milonga don´t look for dancers who try to perform tons of steps. In the milonga they appreciate dancers that dance "with ears". I don´t know where you dance but I have still to find a woman who asks me to perform more steps.

[@VillaLaRogaia]

I agree with all you say about connection, independence and musicality. But I have been dancing for many years. The problem is mostly with men who are beginners and don´t know how to react when women who are better dancers try to express their musicality or do more embellishments. Some are completely overwhelmed and think they did something wrong when they notice the women doing "these weird things" (and I am not talking about the kind of women who are in their beginnings and think they have to perform one hundred decorations per minute 🙂). Another trip wire for women who want to express themselves: Some (but in my experience not the majority) of men have also problems with the connection. Getting to close scares them. I wouldn´t now why, I myself never had that problem but I know that it exists IMaybe it would be helpful to make a video also about these issues if you haven´t already done so.

[@DavidOrbach]

... et évidemment le tutoriel suivant serait : en tant que femme, comment survivre en tango avec un MAUVAIS danseur qui confond une milonga avec un cours et n'a pas compris à quoi sert la musique. Merci pour vos vidéos.

[@backyardrailroader]

A good Fruday afternoon to both of you. Thank you for posting these tips. I will watch this one in a bit. But first, I havexa question for either/ both of you. When outvon the dance floor, most of the time the leader has their left arm above and slightly foward of their left shoulder. The right hand, in the open embrace is on the followers at the bottom of the left shoulder blade. I have been told by different people two different things with that right hand placement. Dome say it should be in contact, but lose to allow her to do her dance moves. Others say one needs to have the whole hand on the left shoulder blade and pressing against that location furm.but not too much. Can you clarify what both of your opinions are? Thsnk you!

[@VillaLaRogaia]

My opinion on this: In the close embrace keep the woman in a stable but loose embrace. She HAS to be able to move freely within that embrace and feel secure and relaxed at the same time. Your arm should never work as a clamp to force her because that will hurt her back. In the open embrace it doesn´t matter where exactly you hold her. Generally the shoulder blade, no matter where, is a good point. Cosider that it has to be comfortable for both of you. Holding her at he waist for most women I have known is not agreeable because that tends to block their freedom to move. You should never "press" the woman only give her good contact. Normally feeling your hand on her back in a stable but relaxed way is sufficient. She has to feel safe and cared for in your embrace, never forced.

[@frodethorsenbrseth5014]

Interesting how points 1 and 2 represent kind of opposite ends of a scale. Not too active, nor too passive. It is easier to dance with a follower who follows along to what is lead rather than taking the lead themselves. But it is also hard to dance with a follower that just passively waits to be pushed around like a mannequin, rather than actively listening to what is being suggested. It sounds almost like a contradiction in terms, to be an "active follower", but that might also be why it is such a tough job.

[@nebahatdinisleyen4945]

Dost arkadaş nasilsin

[@DavidOrbach]

Toutes les vidéos de tango sur internet nous montrent des couples avec de merveilleuses danseuses qui suivent l'homme à la perfection et donnent l'impression que tout est possible. Mais ce n'est pas ce qui se passe dans la vraie vie. En milonga, on tombe parfois sur des danseuses catastrophiques qui pensent qu'il suffit d'un bon danseur pour faire du tango. C'est pourquoi un tutoriel qui nous intéresserait serait : comment faire quand on a dans les bras une MAUVAISE danseuse, une danseuse qui n'a pas son équilibre et gigote dans tous les sens. Quelle danse, quelles figures lui proposer alors pour que la danse ne vire pas au cauchemar.

[@VillaLaRogaia]

À mon avis, si une femme tombe sur un très mauvais danseur, elle a le droit d'arrêter la tanda à tout moment. Si le danseur danse terriblement mais est par ailleurs un type sympa, il ne devrait pas être difficile de trouver une excuse amicale pour se fermer.

[@DavidOrbach]

@@VillaLaRogaia Non. Elle n'a pas le droit. C'est le code.

[@VillaLaRogaia]

@@DavidOrbach Je ne suis pas du tout d'accord. La femme, bien sûr, a le droit d'arrêter la tanda s'il s'avère que son danseur danse vraiment maladroitement. Inversement, bien sûr, cela s'applique également aux hommes. Les codes du tango sont là pour rendre la danse agréable pour tous, pas pour empêcher les danseurs désagréables d'affronter la réalité. Et j'ai déjà mentionné la solution pour les mauvais mais gentils danseurs.

[@DavidOrbach]

@@VillaLaRogaia dura lex sed lex

[@VillaLaRogaia]

@@DavidOrbach Absurdité! Après tout, nous allons danser pour nous amuser, pas pour appliquer un principe juridique abstrait et supposé. Et quant aux codes : « La tradition n'est pas le culte des cendres, mais la transmission du feu. , comme disait Jean Jaurès. Indépendamment du fait que chaque droit est toujours modifiable et bien sûr aussi une question d'interprétation.

[@AdatheTraveler]

Most of the leaders only have ego and cannot lead.