[Tango-L] Tips for Followers? prt 1

[larrynla@juno.com]

This sent to me by someone who occasionally reads TANGO-L but is not a member.  Posted with her approval.  --  Larry de Los Angeles

Do whatever you have to do (special exercises, pilates, ballet, yoga, practices with women only) to develop your core strength and your flexibility.   It may appear that the follower is leaning against the leader, but what is actually happening is that she is supporting her own weight with her core and using the touch points of her right hand, the left (upper) portion of her torso and the palm of her left hand to maintain her connection to her partner.  At times, you must be able to swivel your hips while simultaneously maintaining a connection, reorienting your axis and executing a long, curving step around your partner.  This is what gives the dance its characteristic sinuous quality.  You should be doing molinetes in practice embrace by the hour, because it helps you build those disassociated back steps.  Since the  leader also executes moves that require this disassociation between the upper and lower bodies, your practice will be valuable to you when you resume the leader’s role.  In terms of posture in the close embrace connection, nothing is more important than keeping your core from sinking – I know this may sound vulgar, Larry, but remember – it’s tits up at all times.

Place an emotional pause/neutral place at every gather, and gather every time.  The neutral spot will be invisible to an observer and in time with the music and will not interrupt the flow of your steps, but it is critical to your partner because it allows him to amuse you by breaking apart rote figures. At any time a leader may want to use pauses, syncopations, checked moves and reversals in direction to interpret the music or manage a busy dance floor.  If you aren’t in a neutral position you will miss this exquisite moment of connection and rob your partner of his opportunity to join you with the music.

Always walk on a straight line, stepping behind yourself on an imaginary line extending from the heel of the weighted foot.  This creates a pleasing visual line and avoids an ungainly open-legged stance for the follower, while keeping you in a narrow channel on a busy dance floor.  I think it adds subtlety to back ochos (particularly when only one is executed by navigational purposes) because you are starting from a fine line, not a block of space.  I know not everyone loves the single track idea, but I think women who do this look better than women who don’t.

When walking, learn how to extend your unweighted leg in a long, clean, straight line without disrupting your axis or your connection or increasing the sensation of your weight on your partner.   There is a difference between getting more extension by bending the supporting knee and getting more extension by lengthening the musculature that supports the hip.  Practicing extending your leg without allowing your head and chest to become closer to the ground.  The most elegant leaders step into the open space (even beyond your supporting foot) and the visual line created by the alignment of the two legs reaching into the open space (especially in a contra-body position) is especially beautiful.  By stepping in a single line, you leave him as much open space as he can use.  That long, hungry forward step on an elegantly extended leg (enhanced by the tenderness of the embrace that joins the upper bodies) is the hallmark of the best leaders.  Don’t rob him of the chance to show it if he has it.  Much is made of the obligation of the man to make the woman look beautiful, but you must remember that you owe him the same in exchange. 

Concentrate on the beauty of your feet and legs while stepping.  Maintain a slight edge in your unweighted foot, with the ankle slightly broken to allow the ball of the foot to edge the floor.  Keep your feet on the floor in every step – in ochos, in molinetes, in giros, when walking.

Liz

[CONTINUED IN PART TWO]

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