Tango

I have often been asked how one should teach tango to beginners. 

And it is likely that each teacher will ask themselves this question a thousand times, depending on the students with whom they begin this journey on each occasion. 

And it is also the unknown mystery of those who one day decide to approach for the first time this dance that is so complex in appearance, but whose foundations are so simple and at the same time so full of meaning.

The answer to this question points, in my perspective, not only to the methodological aspects, and even less to the merely formal “contents” such as mathematical steps or cold ways of walking or turning.

In effect, what is essentially, deeply, the tango dance? 

Surely it is NOT a succession of steps, figures, structures, movements. 

Something much deeper underlies all of that. 

And this deeper “something” is not precisely “technical”, but a very prior, primary and fundamental factor.

In a simple statement, without trying to assign a chronological or hierarchical order, we could say that it is a natural, human, intuitive, sensorial relationship, with an “other” human and with an “other” sound.

Then perhaps we could also say that first of all we should elaborate, build or reveal the relationship of unity-duality with the other person – the dance partner –. Someone with whom we can do something as simple as moving together (which is often so difficult) or moving an object together. 

(All this, without yet distinguishing the roles of leading and following, which should both be worked on simultaneously for both people, in order to reach a full understanding of both aspects – which are not opposites but absolutely complementary, since they need each other.)

How to achieve that? 

Allowing my body to dialogue with the other person’s body, to “speak to them face to face”, to “listen to them”, to allow a communication to flow as simple and natural as the one that flows in everyday life when I do something with someone, or when I talk to someone. Placing myself in front of that person, with all my being “face to face”, and not only two bodies… but two people, with soul, feelings, emotions… and the human, divine and animal capacity to be-with-another.

Oh, I forgot: What about the embrace? 

Yes, of course: the arm in such a position, the hand at a certain height, the angle… How complicated… Perhaps I can measure it with a ruler, a square and a compass… Hmmm… What if I simply hug the other person and make them hug me? A real, human embrace. Warm, firm and sweet at the same time… Then I can take their hand or allow them to take mine and… perhaps if I measure it now, I will find a “correct” tango embrace!! 

Friends, the tango embrace is simply that: a hug!! And not just a “position of arms”…

A good embrace is something natural, human, comfortable and pleasant for both people, and it allows us to address other aspects of our topic: movement, playing with the weight of the other person and with our own, doing something together like… dancing.

As I said in another article, dancing is a natural fact that’s born with the human being. 

Everything that’s discussed here is also natural. And everything that we usually consider “technically necessary and/or correct” is nothing more or less than a consequence of something that is absolutely natural in its origin. 

Dancing is a natural fact. So, let’s avoid stereotypes…

Uh, I think there’s still something missing. 

Dialogue is, by definition, “of two”. But in the case of tango (perhaps in the case of any dance that is danced by two?), dialogue appears to me as “of three”… 

Of course, the “third” is the MUSIC. And in this wonderful, surprising, captivating “TRIALOGUE” is where we see the birth of tango dancing and with it walking, improvisation and creativity.

Then it come the steps, the figures, the styles and all the infinite variety that tango, or milonga, or vals, can offer us.

So, I think that this is what should be taught and learned in the first lesson:

* Dialogue with the other person. The absolute certainty that everything that happens in the dance is the work and responsibility of both people in the sense that, in fact, the dance couple is built between the two (each one from his role) elaborating each one what corresponds to themselves and collaborating in everything with their partner. Within this dialogue, as one of its aspects, the embrace is included.

* Dialogue with the music. Within this dialogue, as one of its possibilities, walking is included.

* In short, the “trialogue”, the profound communication between these three fundamental elements (the two people and the music), with all the incredible significance, depth and complexity of details that this entails. Included in this “trialogue” it’s walking in an embrace and according to the music.

* And the undoubted understanding that all these aspects constitute a unity that nests, precisely and as a fundamental fact, the essence of tango.

This would be, in my opinion, the first lesson. 

But… How long should it last? An hour and a half? Two hours? A month? Maybe a lifetime.