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More on Dancing at Tango Festivals 25 May 2004 — Stephen Brown

In an email, Tom Stermitz of Denver offers some helpful hints for dancing in the crowded conditions typical of festivals (and Buenos Aires).

(1) Do not step backward. Do not do a back-step against line of dance. Do not move in a direction you cannot see. If you learned the "8-Count Basic with Dreaded Backstep"... un-learn it because it does NOT work on a social dance floor. If the person in front of you suddenly steps backward, put up your hand to keep them from smashing their heel onto your partner's achilles tendon.

[Tom, thanks for that tip. I would modify that tip to say, be cautious when stepping backwards. Make the back step small and only step backwards when there is adequate space behind you. Backsteps are effective for pivoting and changing directions. Many successful dance instructors do teach the backstep. - Phil Seyer]

(2) Memorized 12 and 8 step figures will not function. You have two ways to approach improvisation. Learn to split the figure into a different ending when you realize your first idea is leading to trouble (this requires higher level tango skills). An easier strategy is to utilize 4 and 2 count figures (elements). The rock-step is a good defense against a potential collision. Drop all the hot moves you just learned in class, but haven't quite mastered. Learn to do very tight circular moves.

[Hmmm. A rock-step is often a step backwards followed by a change of weight back to the front foot. - Phil Seyer]

[Comment by Melina SedÃ?ƒÂ³: 4 and 2 count figures are still figures with predefined directions. My philosophy: Don't memorize any figures at all, but learn to improvise with the basic elements and structures: steps in all directions, pivot and the parallel and crossed system. Thus you will never be caught up in figures but are able to choose new directions at every single moments anew. ]

[Melina, I respectfully disagree. I think some memorize figures do add to the fun and excitement of any dance. A balance between improvisation and memorized figures adds to my enjoyment of dance -- Phil Seyer]

(3) Social Tango in Buenos Aires is a dance around the perimeter of the room. It is RECTANGULAR, rather than circular. (Performance tango is the opposite, requiring you to fill the interior space of the stage). Crowded conditions are best handled by setting up lanes. The outer perimeter of the floor is the first lane. When that gets too full, use the 2nd lane, and then the 3rd. The outer lane tends to be safer, as you have potential collisions only from the inside.

(4) In order to create a rectangular floor, dance ALL the way into the corners, where you are protected on two sides, and maybe have a little room for a fancier move. If you cut the corner, you have just eliminated a space that would have fit in 2 or 3 more couples, then the next lane knocks of a couple more... multiply times four corners, and you see this has a lot of impact.

(5) Entering a lane from the side, is like merging into traffic; don't stop and meditate on your partner's lovely embrace while the lane stalls behind you. If there is a gap in front of you it probably means a pile up behind you. Take a few traveling steps to close the gap. When the floor is moving nicely, everyone progresses slowly and steadily around the room: a few steps forward, a couple rock-steps; a little turn to see where the next gap is; safe in the corner, do a little figure; walk into the new space; ocho cortado in place, etc

(6) Dance very close to your partner; use smaller steps; don't whap people with big-kicking boleos. While we no longer settle collisions with a knife fight in the alley, bumping other people is not considered to be good form. Don't zig-zag across the lanes. At some of these festivals you see a few dancers zipping around really fast. Avoiding collisions, they think they are pretty hot, ignoring the wake of disruption they have created by all the near-misses.

(7) Meeting people at big events can be daunting as many people already have friends from multiple trips to Portland, Denver, Ann Arbor, Washington DC, Buenos Aires, etc. The workshops are a great place to circulate as all the teachers rotate partners. Invite your new friends out to dinner, arrange to meet them later, and promise to see them again at Labor Day in Denver or October in Portland.