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Perhaps for the first time since
we learned to walk as a young child, we need to consciously control
the way in which we move from foot to foot. When we started to
walk, we needed to put both feet on the floor and hold on to
something to stay balanced. As our confidence and skill improved,
we could stand on both feet without holding on to anything. Even
now, as we walk, we unconsciously seek out the next opportunity
to stand on both feet.
The 'unconscious' or autonomic
control of walking and balance is governed by the cerebellum
and in the same way that it learned the means of control through
intense repetition or conditioning via a traumatic event (like
pain caused by falling over), the only way to 'unlearn' it is
with (a) intense repetition in the long term or (b) supreme effect
with the 'conscious' mind or (c) conditioning with trauma. Before
my hip operation, my brain was conditioned by the trauma of pain
from certain dancing actions and I learnt anew how to move to
avoid pain.
If you feel like being more extreme
in your exercise regime, you could reprogramme your cerebellum
using trauma by putting a coin or small object in your shoe that
causes mild pain if you step incorrectly. The choice is yours,
and I urge you to use common sense if you chose this method to
avoid injury.
For the first time in their life
since learning to walk a novice dancer needs to evolve their
walk even further and learn to step onto and balance confidently
on one foot, keeping most of their weight over the front of the
standing foot to enable pivoting on the ball of the foot. Learn
to step into a balanced position with both feet collected together.
Exercise:
Stand on your left foot. Move you weight slightly forward
so your heel carries no weight but remains in contact with the
floor. This is your standing foot. The other foot, your
dancing foot, borrows some of the stability of your standing
foot by contacting the inside of the heels together. Lift the
outer edge (little toe side) of the dancing foot and touch the
floor only with the 'knuckle' just behind the big toe if the
dancing foot. Although all of the dancing foot remains very close
to the floor, the only part of the dancing foot in contact with
the floor is the inside edge just behind the big toe. Use this
as a tripod support to aid the standing leg. Now step onto the
right foot and repeat this process on the other leg/foot. This
balanced, collected position is called the neutral position.
From a male ego perspective,
they don't need to improve their dance. There are usually more women
than men at UK milongas and if you can deliver a convincing set
of 6 Cs, women will come to ask you for a dance.
Which brings me to the heart
of the problem. Over the last 100+ years, the socio-dynamics
that evolved the dance have been turned upside down. We now have
more women than men. The competitive edge, the peacock strutting,
the machissmo essence that made men NEED to dance well to enjoy
the company of a woman is gone.
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Tango is always completely improvised and spontaneous, with both
dancers reacting to the dynamics of each other, the music and
the dance floor. In order to invite a partner to dance into the
next safe empty space, one, or both dancers may need to change
direction quickly and elegantly. This is only possible if we
are standing on one leg, in balance over the ball of the foot
with the dancing leg collected in the neutral position (see above).
Engaging the whole body to stay balanced, and poised ready to
move to the next step.
Exercise:
Work with a partner. One of you stands with your weight
on one foot, the other foot collected in the neutral position.
The other person places both hands on their partner's shoulders.
Slowly, apply a horizontal push to the shoulders. The partner
being pushed can stay balanced and upright if they soften the
standing knee, engage muscles in the calf, thigh, abdomen, thorax
and chest to drive all the energy of the push to their standing
foot. Try both legs and then swap roles. Tip: there should be
no surprise 'pushes' or release of 'push' as this can unbalance
even the most grounded dancer.
Exercise:
Walk like a big cat
stalking its prey. As you walk, soften your knees to actively
engage all the muscles in your legs as you move. With each step,
place your weight immediately onto the ball of your foot. Do
NOT place your weight on the heel first. If you are working in
a group, choose a 'victim' to stalk and follow their every move,
walking from single axis (balancing on one foot in the neutral
position) to the next single axis. When you need to change direction,
try pivoting on one foot in a smooth and balanced way. If you
catch up with them, take hold of their shoulders and try to over-balance
them. BUT remember, you may also be someone's prey and be caught
and over-balanced. Make every step a precise move into equilibrium
on one foot and shape the body in a balanced position to resist
a sudden seizing by another 'big cat'.
For classic and modern tango
music reference with clear, simple walking rhythms to accompany
the above exercises, take a look at my online juke
box. I have listed classics, like Por Una Cabeza (hear a
sample at http://tinyurl.com/jafrn)
and modern alternate tango like Norah Jones (hear a sample at http://tinyurl.com/kq8lj)
Both these links take you to
the Apple iTunes site where I suggest you search for these tango
orchestras from Argentina.
Francisco Canaro, Osvaldo Pugliese and Juan D'Arienzo. There
is a particularly good album for novice dancers called Tango
-the Original(s), Vol. 1.
Email Tango UK with comments about these
Pink Papers
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