Brian Dunn wrote:

"By pushing their edge in the "tango workout" practicas, the low-stress "Nino Bien dancing" of these young dancers is well within their "performance envelope", rather than being closer to the maximum they are used to. This leaves a lot more available brain power (and heart power) for musicality and connection.

To achieve the same end, regardless of one's stylistic preferences in social tango, any tango dancer who values floorcraft, connection and musicality in milonga settings (as I do) might want to consider overtraining their floorcraft and movement dynamics with higher-energy "big tango" practica work."

This is an excellent point, and one that I don't recall seeing on Tango-L before. The same is true of Stage Tango. After a lot of high-energy practice for a show, I find that my social tango becomes a lot easier. My footwork and technique improve enormously and I'm free to concentrate on other things - primarily, musicality and taking care of my partners' needs. And, contrary to what a lot of people seem to think, it's very easy to keep the two styles - social and stage, completely separate. Especially as social tango is danced with many partners.

Keith