Lounge Tango – Tango Salon

broken tv and red dance shoes

Christine and I have been lucky enough to continue dancing tango during lock-down, albeit in a much smaller space, so I thought I’d write this post relating our experience of ‘lounge tango’ (or tango salon), just to show that with a partner, there is tango life after milonga.

What is lounge tango?

Well for us it was modifying and getting used to dancing tango in a space no bigger than 2m x 2.5 m, which doesn’t sound a lot but is enough for many things. In saying that there are of course advantages and disadvantages, with a need to modify a few things.

Advantages vs Disadvantages of Lounge tango

  1. With a partner on tap, there was no sitting out waiting to dance.
    This is an advantage, of course. Those of you who’ve been unfortunate to be in lock-down without a dance partner will know that technique, styling and conditioning exercises can only get you so far.ย  With a real live partner you can both try swapping roles for a bit of fun. Even without swapping roles, you can learn and discuss how to perform new material until you get it right. However if you have an argument about something, anything, you don’t get any tango for a while until you make up. You learn to be nice to your tango partner, which is always a good thing ๐Ÿ™‚ .
  2. We had to learn a different type of floor craft.
    Normally floor craft is mostly about not damaging yourself, your partner, other dancers or people sitting out at a milonga, and being courteous to others. With loung tango it becomes all about not destroying your possessions (stiletto through the TV screen etc.) ๐Ÿ™‚ . Other than that it is very similar in that the leader needs to be very aware of the space available (as does the follower) and probably needs to make more use of pivoting to be able to lead the follower out of the tight corner he’s boxed them into. If we ever get back to ‘normal’ milongas this will be a very useful skill.
  3. We’ve had to more or less give up ‘the tango walk’.
    Tango walking can almost be a dance in itself with marvellous rhythmical walking patterns to make moving around a dance hall a bit more interesting between tango figures. In a very small space you do maybe two or three steps in a line then have to break it to get around a corner, so not much chance to get a walking rhythm going. This also means that our tango has become more ‘figure’ centric and a lot more circular, with more rebote to bounce us back to the centre of the dance space.
  4. We’ve had to learn how to make linear tango figures circular
    In a normal milonga space there are certain tango figures which are linear and can cover a lot of space. In our lounge we have either had to forego them, or find ways of cutting them short, or making the linear figure a bit more circular. This will be an advantage if we ever get back to crowded busy milongas, but at the same time we miss having a bit of runway to unleash our linear figures onto. Oh well… ๐Ÿ™‚
  5. The leader can now step back more often
    This is both a blessing and potentially a future curse. Blessing because now I can make full use of the small space and be able to apply my damage limitation floor craft by stepping back a couple of times or more. Potential curse because I may get used to the habit, and do it at my first proper milonga in some months time, to the probable consternation of the couple behind. Hmmm…

Carpet vs lino vs wood floor

We started lock down dancing on a fairly old carpet. Thin enough and hard wearing it was OK so long as I didn’t wear my tango shoes and used some modified indoor shoes with smooth leather soles. The disadvantage was in pivoting – more resistance, so it meant we had to use pivoting technique more often or risk twisted knees and ankles (which thankfully we never experienced). However in some ways this was an advantage too because it made us use our core muscles more, which improved our conditioning. What was do-able with a little effort on a carpet, became very easy on a nice smooth wooden dance floor.

Recently, after doing every other DIY project I could think of, I finally ran out of excuses not to lay a new floor in the lounge. Its only wood effect click-board, but the surface is a lot smoother than the carpet, so now pivoting is nice and straight-forward. Will we start loosing our core strength though?

As for lino, it is better than carpet, but perhaps less good as wooden floor. Most lino tile or sheet is design with a none slip surface, when first laid. If tiles have worn smooth a little that would be better, and if it’s all you have, it’s adequate for home tango.

How your tango changes in a reduced space environment

So to review, yes your tango will change dancing at home, but sometimes in a good way and you may have to learn to be more precise in your floor craft which will stand you in good stead. Your range of ability to use figures in tight spaces, relying on extra rotation in pivots to get you out of tight spaces will should also improve too.

If you are lucky enough to live in a mansion with a large space, none of this matters to you but in any case while we are still in lock down, even if you are not learning much new, I would recommend trying to make what you already know, as precise and elegant, while improving technique as much as possible.

So keep practising, but try not to smash that nice Ming vase stood in the corner, with a wild voleo… ๐Ÿ™‚

How long does it take to learn tango?

Recently one of my new students asked this very reasonable question. However the answer is not easy to state. It’s a bit like asking how long is a piece of string. Even if you put some ‘way points’ in the question such as ‘how long does it take to become average/good/excellent…’ you are still left with defining what average/good/excellent means, or deciding who should make that definition.

However I thought I’d put my engineers mind to it and see if I could shed some light with my own experience, thoughts and opinion. I am not aware of any hard facts or research on ‘tango expertise’, but if anyone knows of such data let me know.

Let’s first look at the main components of the tango dance (in no particular order of importance);

  • Choreography – the walk, the classic figures, the ‘tango steps’ which would be recognisably tango to all tango dancers.
  • Technique – the dissociation, maintaining your own axis, the timing, foot shaping etc. The components recognisable by most tango dancers above beginners level, even if those dancers have not yet mastered them.
  • Musicality – stepping on the strong beat, decorating using the melody and so on. Again most dancers except new beginners would be aware of the possibilities of enhancing a dance with musicality, even if they were not yet adept.

To become expert at tango, we need to excel in all three of these areas at the very least.

There are also many other parameters which may influence how quickly we learn tango such as our own innate abilities, our teachers capabilities and so on, but lets stick to what is perhaps more easily judged for the ‘average’ new starter.

We then come onto defining levels of expertise. The words ‘beginner’, ‘improver’, ‘intermediate’, ‘advanced’, ‘professional’, ‘world champion’ etc. are used throughout the tango world to describe the level of a dancer, but what do they actually mean?

Well, apart from the obvious ones at the far ends of the spectrum (‘beginner’ and ‘world champion’) the others are a little more difficult to pin down.

Some tango schools classify by calendar duration. For example a beginner is someone who has danced less than 6 months, or an intermediate is someone dancing for a minimum of 2 years. In my experience this is a fairly blunt tool to define a persons actual capability. I’ve danced with people who ‘feel’ like they’ve been dancing a couple of years, to be told they’ve only been dancing 6 months (but taking 5 classes and attending a couple of milongas each week of those 6 months). Equally I’ve danced with people who ‘feel’ like they are beginners, to be told that they’ve been dancing tango ’10 years, on and off’. So the simple passage of calendar time is not necessarily a good measure of progress or capability.

There is a school of thought (and empirical research across many fields lends support) that to become an ‘expert’ย in any subject takes 10 years of deliberate practice, i.e. taking classes, practising with specific purpose, and performing while taking feedback.

This โ€œ10 year ruleโ€ was first proposed based on research about the amount of deliberate practice it took for someone to become a chess master, but since then has been found to be fairly consistent across many subject areas. This translates into thousands of hours of effort expended for the sole purpose of mastering a craft or activity.

By age twenty the best violinists are estimated to have engaged in deliberate practice for at least 10,000 hours. Expert performers arrange their lives around a commitment to daily practice. For example, expert musicians have been found to engage in deliberate practice approximately four hours per day, seven days a week, 365 days a year.

This would imply that if you go to a 1hr tango class once a week and do no more, it will take you 200 years to become expert! Equally it implies that if you work in a job where you spend 30-40 hours a week doing the same thing week in week out, then you would become an expert in about 6 years.

This makes sense, and explains why some people seem ‘better’ or ‘worse’ than they ‘should be’. If you put in a greater number of hours, regularly and consistently, you are more likely to be perceived as ‘better’, compared to someone doing a few hours here and there with many long gaps in between.

Varying the type of subject performance is also critical to achievement. You can go to as many tango classes and practise sessions as you like, but you may still feel out of your depth during your first social dance simply because the safe learning environment is different from the performance environment.

You can’t really know how good you are at any point in your learning until you put yourself to the test. This applies both in class (where you might eagerly volunteer to be the teachers demonstrator instead of hiding at the back), as well as at a social dance where, as nervous as you may feel, you just have to get up and do it.

The trick to dealing with the inevitable mistakes in both class and milonga is simply to use the mistake as a learning tool, always looking for the useful learning points. In that way you make progress even when things feel uncomfortable.

So if you’ve read this far and are thinking you might never be any good at tango and you might as well give it up, take heart, because as yet I haven’t discussed another important parameter, which is your own objectives in learning tango.

What do you want out of tango?

Some people only want to do enough to be able to mug along at some occasional tangoesque type event. Some people want to challenge themselves to see how good they can become, and of course some people may dream of being a national or international champion. These objectives require different levels of committent and determination.

So in a nut-shell:-

1. Unless you intend to enter the World Championships or perform on stage, you don’t need to be ‘expert’ at tango to enjoy social dancing, but in order to get lots of dances you need to be acknowledged as ‘reasonably good’ within your tango community, so some time and effort is required. Maybe not 10,000 hours, but certainly many hundreds to the odd thousand or so hours.

2. I believe that the act of learning the components of tango is something like the illustration below:

Learning Tango - an illustration of how long it might take

Before you all get up in arms about how ‘inaccurate’ this is, one should take it with a healthy dose of standard deviation, and your experience may well be different. This is based on my personal experience, what I observe of dancers around my community, and a smidgeon of thought and logical deduction. For example, why do the three parameters stop below the level of ‘World Champion’? Well, it’s my opinion that World Champions have some other harder to define ‘je ne se quoi’. It may be inspiration, or luck on the day, but it’s unlikely to be lack of technique, musicality or choreographic ability at that level.

So the chart shows that you may learn a fair bit of choreography reasonably quickly, but technique and musicality take longer. It also shows that the path to tango nirvana is never a straight smooth line. Sometimes you plateau and think you’ll never make further progress. That is the time to seek out input from someone much further along the curve.

3. If you want to compress the learning curve(s) then you need to do more work, more often and develop a commitment to deliberate practise each day, even if you can only manage 15 minutes instead of the 4 hours of experts. It should make a positive difference to your tango provided you’re practising how to become better, rather than just re-enforcing bad habits. In other words really listen to the advice your teachers give you, and practice the good stuff.

So how long does it take to learn tango? Well, first you need a find a piece of string… ๐Ÿ™‚

How to Make the Best use of Practicas

Dart in target bullseye

If you want to improve your tango dancing, you have to practice, of course. Many people go to practicas and just dance, and that’s OK as far as it goes, but sometimes they just dance the way they always dance, without really thinking about what needs improving.

It may be more useful if you practice with an objective in mind. For example, an obvious set of objectives if you’ve just attended a class would be

a) to make sure you can do the figures taught in the class,

b) to make sure you understand the techniques used to perform those figures, and

c) to make sure you can integrate those figures into your normal improvisational dancing.

I would also argue that if you are self aware of your own tango abilities (i.e. you know what you do well, and also what you perform poorly), then you can give yourself objectives related to practising the things which you know need improvement, or which you have difficulty performing consistently.

If you have teachers at the practica, then you can ask for input just to check your doing things ‘the right way’ (i.e. with reasonable technique, control of balance and axis etc.). They will be able to see problems you might not be aware of and suggest better ways of doing things, as well as exercises you can do at home.

Of course, this relies on you being able to judge your own abilities reasonably well, and being able to accept that you may have faults which need rectifying. Not all people are willing to admit their faults.

If you recognise yourself here (and I accept it’s difficult to have someone tell you you’re not doing things right, even if they have more expertise), then I would ask you this.

  • Do you want to get more dances?
  • Do you want to have people pleased to dance with you, rather than trying to avoid you?

If so, and you are not feeling that this is the case right now, then you may need to put ego aside in order to improve your tango. Judge your tango guides/teachers by what they can do, and how they teach, and let them help you improve. Listen graciously to the feedback from the people who will dance with you, and make a plan to improve.

Also don’t forget to keep doing the things you do well. We can all get a bit jaded and sloppy if we neglect practice on even the basics of tango.

Don’t waste your practice time. Practice with purpose. Put in the right kind of effort, and the Gods of Tango will smile down upon you… ๐Ÿ™‚

How to dance more musically

Musicality in your dance is 50% of the work. Knowing figures and decorations is one thing, but applying them to a given tango tune in a musical fashion which enhances not only the external look of the dance to your audience, but also enhances your own enjoyment of the dance, is another important factor.

So how can you improve your musicality and improve your Argentine Tango interpretation?

1. The most obvious thing is to listen to lots of tango music… traditional tango music… every day… until you begin to recognise all the popular tunes you hear at milongas. This will take time, but will tune your ear to the rhythms and structure of typical tango tunes.

If you don’t have the money to buy tracks/CD’s you can listen to tango tunes from your favourite video service or music streaming website, and if you have on-line radio, there are some good tango stations out there who stream hours of tango music to listeners. So, no excuses! You can squeeze in 1/2 hour of tango music while travelling to/from work, walking the dog, out running, etc. every day ๐Ÿ™‚

2. Learn the structure of what you’re listening to. Most Argentine tango tunes (especially those from the Golden Age (early 1930’s – late 1950’s) do have a recognisable structure.

You need to be able to listen to the music and react to it rather than just hearing it as a background noise. Typically, tango tunes are split into phrases which are repeated (with variation) through out the tune. There are often two or three musical themes repeated also, in an ‘A-B-A-B-A’ or ‘A-B-A-B-C’type pattern.

So as well as getting to recognise popular tunes off by heart, knowing the typical structure of a tango tune allows you to anticipate how you might dance to tunes you’ve never heard before as you begin to listen to the first phrases of the tune.

3. Practise dancing musically, of course! When you are in a Practica, don’t be afraid of trying out steps such as rock steps and rebounds to accentuate not just the stepping beat but half beats too. Try out your adornments in a similar manner, and don’t forget to use pauses as well. Smooth elegant tango dancing will always have some pauses in it. Music is written in phrases and sections. Singers have to draw breath. Each of these elements will result in a natural pause in the music, so use them.

In conclusion, if you make a regular habit of listening to tango music, understanding it’s structure and practising your interpretation at Practica, your dancing will become more musical, and your partners will notice ๐Ÿ™‚

For more information about dancing with musicality read our new series called ‘Musicality in Tango Dancing