Technical Series Part 1 - Technique

[This post has been amendment after discussing the weight issue in the comments. The new information has been added to the section on Weight Change, below.]

Doug of Great Dance [corrected after reading koolricky's comment!!!] asked me a good question in his comment to my last post. Has anyone written about musicality and musical expression, two of several technical aspects of all dancing. The truth is, I don't know. I am certain someone else must have, but I have not. That is about to change.

Let me disclose up front that I am not a teacher, and those who are may explain these things differently. My opinion is based on over a decade of experience dancing Tango, and my descriptions are based on that experience. Also, while there may be many elements which are considered to be "technical" issues, I am going to focus on those I consider the pillars of good dancing: Technique, Rhythm, and Musicality and Musical Expression. The latter two are related but distinct. Other writers/dancers/teachers may disagree with my choices, but then they should write their own post :-)

Finally, I will discuss "artistry" or "style" as a separate coda. While a critical element, it is not necessarily "technique" (unless these artistic expressions interfere with the dancing, such as my foot position did). So, enough drum-rolling. Let us begin.

Technique
When highly creative and excited individuals engage in any artistic activity, the word "technique" feels like a crabby parent crashing in on the fun. However, no fun can really be had in any artistic endeavor without a solid base from which to spring. This "base" is "technique". Even Picasso had to know how to draw a realistic face in order to brilliantly achieve his artistic distortions.

The most basic of technical "elements" I believe is "technique" - that portion of our movements governed by gravity. If we do not have technique, we fall down, or cause others to fall down. Technique is comprised of the following interrelated elements:

1. Balance - if we cannot stand on our own, chances are that holding someone close to us is not going to improve things. Especially if we start moving together. In order to do anything (walk, turn, pivot, change directions, embellish), we must first be able to do so without wobbling or falling over. There are many culprits of poor balance: weak ankles, bad posture (see below), heels that are too high, even inner ear problems. Until we get our own balance under control, any partnering dance will suffer.
2. Posture - while this may be a matter of aesthetics in other dances, in Tango - specifically close embrace Tango - it is a critical element. Blasphemies of posture include head looking down, butt sticking out, receding chest, weak abdomen, etc. All of these, even individually, severely impact our physical connection to our partner. If our head is down, for example, it is not physically possible to connect to our partner's chest - the vital nexus of all communication. Most of these digressions directly impact our balance (see above). A weak "core" will prevent us from achieving proper technique for successful dancing. There is a reason almost every dance class has that "stand as if your head is being pulled up by a string" exercise. It requires a strong core to achieve. And every dance - especially one that involves a close embrace - requires a strong core.
3. Axis - Although a part of "balance", axis is the exact core of it. When we know where our axis is and can control it, our partner can play with it, sending us off in one direction and then, on a dime, dramatically be able to shift it in an opposite direction - without either of us toppling over. We can be tilted "off-center" (i.e. a calecita) and still maintain our balance. A dead giveaway that we have not found our own axis is a need to "hang" onto our partner, or using them to complete a movement. This applies to both leads and follows, and is most evident during (though not exclusive to) giros/molinetes. While certain steps, such as ochos, are much easier to execute with a partner than without (due to the slight resistance they offer with their arm), if we cannot execute ochos at all on our own, we do not have control of our axis. Bad posture (see above) is extremely detrimental to our axis, which will remain an illusive goal until we correct our posture.
4. Physics - Every action has an equal and opposite reaction: Newton's second law of physics. Just as in billiards and pool, we make a ball go one way by tapping it on the opposite side. Physics applies to all physical activity - even Argentine Tango. For example, an extremely forceful lead in one direction will force the partner to apply an equal amount of opposite force (and thus feel "heavy") just to keep from being flung against the wall. A "closed" shoulder acts like the Great Wall of China to a follow trying to return from an ocho. These are just two examples of how physics affects a dance partnership. Other examples include a follow not "collecting" (bringing feet together) during the pivot of a molinete. The "flailing" leg is in effect a "pendulum", and creates a perceivable drag in the opposite direction which can pull our partner off balance. Most egregious of all, of course, is trying to displace a weight-bearing leg. If we want to decorate the house by taking down the one column holding it up, disaster will follow.

Weight Change.
I'd like to say a few words about weight change, which while not strictly "technique", is one of the most critical tools for communication between partners. It is how we each know where the other person's feet are, and how most steps are led.

Amended Portion

Weight change is happens when we transfer our weight from one foot to the other, as during walking. Often, if we are in close embrace, it is the only way we know our partner is ready to continue. Leads must wait to detect their partner's weight transfer (especially during the cruzada!!) before they can step out. Pivots, sadadas, in fact, almost every single step requires that each partner be aware of the other's weight change. The paradox is that the better we become technically, the more subtle the weight change becomes - and consequently the more difficult to detect.

There is another important aspect concerning weight placement; carrying our weight forward (not on the toes, mind you - we must still be able to stand on our own axis), and is a different matter.

Simply put, our weight should ALWAYS be slightly forward, on the balls of our feet, even when we are moving backwards or to the sides - even during a parada. Placing all our weight on the heel at any time means all our momentum has gone to the back, requiring a lot of energy to return. It also causes "lag", which makes staying with the beat (to be discussed in my next post on Rhythm) almost impossible. Further, placing all our weight on our heel can have disastrous consequences, especially for those whose foot gets caught under that weight-bearing stiletto.

The examples I have provided are hardly all-inclusive. There are many ways in which each of these elements affect our movements. It is up to us (and a technically savvy teacher) to spot the problems and work on them, because without mastering "technique" every fancy show step we learn is potentially a Judo take-down.

In the next installment of the Technical Series, I will discuss Rhythm.