[Tango-L] Leading with hands

[TangoDC.com]

To reinforce Sergio's point, we might examine what happens during the 
calecita, a move no leader (none beyond the beginner level, at least) 
can claim to be ignorant of.

We lead the follower's rotation with our torsos. That's the fundamental 
part. We also relax our embrace (whether it's close or open) so we don't 
pull the follower off-axis. That is: we leave our arms with her, 
modifying the frame as we move around her.

Now, you could say this is leading with the arms or else its opposite, 
depending on how you wish to describe it. But the main point stands: the 
arms can be integrated into the lead-- not as autonomous agents, but as 
agents in harmony with the torso (and partner)-- in order to clarify the 
lead, make things easier for the follower, and ensure good form and good 
dancing.

Keeping the frame firm, as beginners are taught (this is at a 
*preliminary* stage of dancing, mind you), will usually knock the 
follower off-axis in this case. And in this case, we would have no other 
way to describe this "torso-only" lead than to call it an example of bad 
arm-leading. Or an "insensitive" frame.

Keeping the frame firm, while doing a few other things, of course, may 
lead a volcada.

In any case, there is no absolute, right-and-wrong when it comes to 
technique; there is only success and misuse in context. Technique in 
tango, as in all arts, is a layered phenomenon, as I'm getting tired of 
pointing out. It is also circumstantial, which is why those of us 
defending torso-plus leading are naming moves and describing situations 
in which advanced techniques are appropriate, efficient, and 
comfortable. Certainly there are bad dancers out there, who lead with 
their limbs *instead* of their center, but if we based our discussion of 
technique on them, we'd have nothing to discuss.

There is probably a spectacular place for everything, if only we can 
create it.

Jake Spatz
Washington, DC


Sergio Vandekier wrote:
> When discussing any aspect of tango dancing technique (LEADING FOR 
> INSTANCE) is convenient to clarify what style one is talking about.
>
> This is important because the technique varies with the style and also 
> with the individual dancer.
>
> In this context it is totally absurd to say "leading with the hands is 
> wrong" because although you may not lead that way there are excellent 
> and well know dancers that do it.
>
> There is a world of difference between talking about somebody who uses 
> his hands to lead and is a poor dancer and somebody who is an 
> excellent dancer.
>
> The only great dancer that I know that used his fingers on the back of 
> the woman to lead was Victor Ayos.  I met Monica and Victor in Mar del 
> Plata after their show at the Jockey Club Confiteria in 1992.
> I asked them if they could teach me some tango choreography. He said: 
> " we will be happy to do it but only for a week as we leave for our 
> tour in Japan and the Middle East next Monday.
>
> I met with both of them every day for several hours for the entire 
> week. On the next big show they had (Saturday) I was included and had 
> an entire number with Monica.
>
> Victor is well known as a dancer and as a choreographer (I know 
> several stage dancers that took instruction from him) yet he used his 
> fingers on the back of Monica to lead some confusing moves during the 
> show.
>
> Should I say that Victor was wrong and the ones on this list 
> criticizing hand lead are right?
>
> No,  They both are right, each person leads as he was taught and as it 
> is needed by the type of tango that he does.
>
> Leading with hands:
>
> Let's say I walk the lady to the cross to do a "paradita de la mujer" 
> (a stop of the woman).
>
> 1 -She is at the cross her lt. foot locked in front of her rt. foot. I 
> place my Lt. foot by her Lt. and with my right arm and hand I lower 
> her position so that she will extend her right leg to her right side.
>
> 2 -When I lead a boleo (back flick) I use the same move to lower her 
> position so that she does a "low boleo" or I express an intention 
> upwards with my rt. hand and arm on her back to indicate a "High boleo".
>
> In these cases the same as in leading a planeo of the woman there is a 
> definite lowering intention of the rt. arm and hand although they do 
> not move from where they were placed on her back. This is aided by a 
> lowering of the torso as well.
>
> 3 - When I walk backwards and she does it forward I "lift" (express an 
> upwards intention) my rt. hand and arm on her back to make her lock 
> one foot behind the other. This could be repetitive single or double 
> timed.
>
> When I dance milonga I induce a run of double time steps to one side 
> or the other by "lifting" my right arm and hand on her back. The arm 
> and hand do not move from where they were placed they show an "upward 
> intention". Something like what was described by Jonathan Thornton.
>
> We practice leading without arm contact as well. We do many other 
> exercises that develop the ability to tune the dancers into each other 
> too.
>
> In summary hands can and are used in leading as well as legs and other 
> parts of the body.
> This is not only true in tango but in ballroom dancing as well.
>
> Have a good day, Sergio
>
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