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Introducing
International Tango To Your Dancers
by Pat and Joe
Hilton
Does the thought of trying to introduce your dancers to International
Tango cause you a bit of anxiety, and make you wonder “should I really
try this”? As a new tango dancer, do you feel the same anxiety? Do you
ask yourself the same question, “should I really try this”? If so, we
would like to help you answer that question with a resounding “yes I
should!”
A Brief History of Tango and How It Came Into Round
Dancing
The origins of the tango are unclear because of poor documentation. It
is generally thought that the dance developed in the late 19th century
in working-class neighborhoods of Buenos Aires, Argentina; and
Montevideo, Uruguay, as practiced by Uruguayan and Argentine dancers
and musicians, and by immigrant laborers. One writer claims the tango
originated in the lower class districts of Buenos Aires, Argentina in
the late 19th century. He further states the wealthier classes then
encountered it at brothels as Madams of the brothels would hire tango
musicians to keep the men entertained while they waited in line for
women to become available. Did you ever think history could be so much
fun?
Argentine Tango dancing consists of a variety of styles that developed
in different regions and eras, and in response to the crowding of the
venue and even the fashions in clothing. Even though the present forms
were probably developed in Argentina and Uruguay, they have also been
exposed to influences re-imported from Europe and North
America. Consequently there is a good deal of confusion and overlap
between the styles as they are now danced - and fusions continue to
evolve.
Argentine Tango is danced in an embrace that can vary from very open,
in which leader and follower connect at arms length, to very closed, in
which the connection is chest-to-chest, or anywhere in between.
As Argentinean men began to travel abroad, the tango was introduced to
Europe, and in 1912 the tango took Paris by storm. From there the dance
became increasingly popular throughout the world and various different
styles were developed. Two other styles of tango, the English
(International) style and the American ballroom style, evolved from
Argentine Tango.
The English then standardized this version of the tango in order to
teach it in dance schools. This standardized version of the tango was
originally referred to as the English style and then changed to the
International style as it became the version that was practiced
competitively around the world. Although the American ballroom tango is
probably the most simplified version, it is also the most ostentatious
of all the tangos. Following the English standardization of the tango,
American ballroom dance instructor, Arthur Murray, standardized a
version of the tango that could be taught in his chain of dance schools
in America. He incorporated this style of tango with both Argentine and
Hollywood influences as well as mixing in other socially popular
influences and techniques.
As tango was brought into Round Dancing the first choreographers relied
primarily on a mix of International and American style tango figures.
Because our activity is not required to conform to any specific dance
organization’s syllabus, we are able to define our figures in ways that
best suit the needs of our choreographers and dancers. A comparison of
various dance syllabi would show that most of our “true” International
Tango figures are found in Phases V and VI. However, when we start to
teach International Tango in round dancing we start with lower phase
figures that are taken from several tango styles, but danced with
International Tango characteristics.
The Characteristics of International Tango
- Rhythm Timing - In round dancing, the tango rhythm is
denoted using 4/4 timing. Figures are sometimes written in 1 1/2
measures, mainly using 3 patterns of timing: [SS]; [QQS]; [QQQQ];
- The Tango Hold - The hold is very compact with the
woman further into the man's right side. Foot placement in Closed
Position is slightly different than other rhythms. The right foot is
placed a few inches back so that the right toe is level with the left
instep; this will help to hold the knees in a slightly flexed but very
firm position. It will also put the partners into a position where
their knees and thighs are touching, or at least very close to each
other. It will also cause the man to have his right side slightly
forward [i.e., a slight right-side lead].
- Movement - Tango dance is essentially walking with a
partner and the music. Dancing appropriately to the emotion and speed
of a tango is extremely important to dancing tango. Dancers generally
keep their feet close to the floor as they walk, the ankles and knees
brushing as one leg passes the other. All forward steps are heel leads,
side steps are inside edge of foot and closing steps are flat whole
foot. Each foot is picked up and placed deliberately. In tango, there
is somewhat of a wider base because the weight is between the feet.
Bodies are not allowed to go outside of the feet; therefore, there is
no flight and no swing, but there is turn. Without flight and swing,
there is no sway, rise, or fall. A wider base, compact hold, action of
the legs and feet all contribute in achieving a different quality and
character for dancing tango.
Introducing Tango Figures To New Tango Dancers
(Teaching Techniques)
When introducing a new rhythm such as Tango we need to remember to keep
it as simple as possible while still getting the flavor of the rhythm.
We do not try to teach the beginning tango dancers everything we know
about tango techniques. When learning something new the dancers can
only focus on the basics. Said another way, they should only be given
the first layer of techniques. Keep it simple. The primary teaching
focus for beginners should answer the following questions:
- Where do I go? – Cover beginning and ending
directions [LOD, WALL, RLOD, COH, DIAGONALS] and position [CP, SCP,
BJO, SCAR, OP].
- How do I get there? – Tell them about the foot
placement [where the step lands] and timing of the figure [SQQ; SS;
QQS; etc.].
Use music with a strong beat to help the dancers get a feel for
stepping on the beat of the music. This is very important because it
helps the partners to move together in unison. Moving in unison is
important if the dancers are using the “close” Tango hold that has
their thighs and knees in contact with each other.
Making The Process Fun For You And Your Dancers
The idea is to keep the early sessions moving and fun by giving the
dancers a chance to get the feel of the tango rhythm, and to be
successful during the first class session. Build a short routine that
will allow them to “dance a tango” by the end of that class. The dance
may contain only three or four figures, but that will not matter to the
dancers because they will have successfully danced tango after only one
class session. Use a short piece of music with a strong beat. Help them
be successful in learning where their feet go and dancing to the rhythm.
One possible short routine [from the Phase IV Tango Rhythm Teaching
Progression Manual] you might use follows: [CP DLW] WALK 2 ; TANGO DRAW
[CP DLC] ; OPEN REVERSE TURN CLOSED FINISH ; ; GAUCHO TURN 4 TO CP DLC
; TANGO DRAW ; OPEN REVERSE TURN CLOSED FINISH [CP DLW] ; ;
Summary
In this session we have looked at ways to introduce International Tango
to new tango dancers by concentrating on:
- Frame/hold/body position and alignment
- Foot placement
- Rhythm
- Fun
Remember:
- Keep it simple
- Keep it fun
- Help them to be successful
- Enjoy the moment
From
a presentation at the RAL Convention, 2014,
and
reprinted
in the Dixie Round Dance Council (DRDC)
Newsletter, January 2017.
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