tango 101 - the fundamentals

8/19/2019 Tango 101 - The Fundamentals

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The 8th Style Class Manuals

Tango 101The Fundamentals

An Instructor’s Handbook

The 8th Style

Seattle, WA


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“Tango 101: The Fundamentals - An Instructor’s Handbook“

Copyright © 2007 by Jaimes Friedgen, Shorey Myers,

and The 8th Style School of Tango.

All Rights Reserved. No part of this work may be reproduced or

transmitted in any form or by any means without prior written

permission of The 8th Style School of Tango. The 8th Style Class

Manuals are a publication of The 8th Style School of Tango.

By Jaimes Friedgen and Shorey Myers

Design by Shorey Myers

First Edition, Electronic Publication, January 2007

Publisher:The 8th Style

Seattle, WA

Please feel free to contact us if you would like more

information about us or our publications.

http://www.the8thstyle.com/

Or write to us at: [email protected]

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4Copyright January 2007, The 8th Style School of Tango. All Rights Reserved.

Personal License Granted to: Amy Gray ([email protected])

Tango 101 - The Fundamentals -- An Instructor’s Handbook

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About the 8th Style

The 8th Style School of Tango was founded by Jaimes Friedgen in

2006. Based in Seattle, Washington, the 8th Style School provides

its students with a comprehensive tango education from absolute

beginning dancer through professional instructor and performer. The

goal of the School is to help students discover their own tango, whether

that is as a technically proficient performer, a subtle and musical social

dancer, or anywhere in between.

The 8th Style Class Manuals were created to help others replicate the

extremely successful model established in Seattle. The curriculum is

geared towards maximum satisfaction for both students and teachers.

The students will benefit from learning the most universal elements of

social tango in the most efficient way possible. Teachers will benefit

from having an established curriculum from which to build and will

see the results in increased retention rate, student satisfaction and

student progress.

Other Manuals in this Series

All 8th Style Class Manuals can be obtained at the School website:

http://www.the8thstyle.com/shop

Online Participation

Purchase of any of the 8th Style Class Manuals includes access to the

online database of updates and discussions. Instructor feedback is an

essential ingredient for the updates to this and all other class manuals.

Please contribute your comments and suggestions to help improve the

curriculum.

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Table of Contents

Note for the Instructors....................pg 7

Week 1.............................................pg 8Walking and Connection

Week 2...........................................pg 19Ochos and the Cross

Week 3...........................................pg 24Rock-Step Turn to the Left

Week 4...........................................pg 30Rock-Step Turn to the Right

Week 5...........................................pg 34Ocho Cortado

Inside:

2 - Copyright

3 - License Info

4 - About This Series

Online:

Other Publications

Submit Suggestions

Contact Us

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A Note to the Instructors

If you teach your students exactly as we dictate in this manual, your

class will fail miserably. Even if you follow the directions to the letter,

including all of the little tricks and helpful hints, students will drop

from your classes like flies, your marketing budget will be shot to hell

and your dog will leave you in disgust. This is probably not the result

you want.

What we have included in this manual is what works for us, for

our personalities, our experiences and our teaching styles. We have

collectively spent over a decade sharing our love of tango with others,

and over that time we have observed and experimented, tried old and

new exercises, played every game we could think of and constantly

re-evaluated how our teaching was helping our students. This text

contains the results of that research: the most effective beginning

tango curriculum that we have ever devised. Next week, it will be

even better. Our goal is constant: to give our students the tools and

training to dance beautiful, musical, and comfortable social tango. The

path there is continually improving.

Use this information, learn from our mistakes and our successes, and,

most importantly, bring yourself into your classroom. No one will have

your sense of humor, your choice of words or your relationship to your

students. Use this to your advantage and make your class your own.Experiment, create your own exercises and games that work for you.

Fill the margins with your own notes or make up a cheat sheet before

the beginning of each class. Remember that this is just a beginning

tango class, that everyone present in the room, including yourself, is

here to have fun and because they are open to the possibility of loving

this dance. Take pleasure in this knowledge every time you start the

music.

-- Jaimes Friedgen and Shorey Myers


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TANGO 101The Fundamentals

Series Goal

By the end of the series, students with no prior

tango experience will be dancing on-the-body with

a partner. They will be able to dance well without

using their arms and will also be able to create a

comfortable and elegant embrace. They will have

mastered walking, ochos leading to the cross and therock turn to the left. They will be proficient in the

rock turn to the right and the ocho cortado. They will

be prepared to begin refining and combining these

basic movements.

Week 1: Connection and Walking

Goal

By the end of class, students with no prior tango

experience will be dancing on the body without

using their arms. They will be able to walk with

a partner, stop, change weight and start walking

again smoothly and on the music. They will also

be able to lead and follow the single weight

change and the double-time weight change. Most

importantly, the goal of this class is for everyone

to have a good time during their first tango

experience.

Terminology

On-the-body:

“On-the-body” means that there is a

physical connection between the torsos

of the partners. If you need more space

in your dance, you can come “off the

body”.

Teaching Note

All of the steps presented in this series

are described from the point of view of

the leader unless the point of view of

the follower is specically mentioned.Therefore, a “forward step” is a step

forward for the leader and backward

for the follower.

The Clocks

Throughout this handbook you will

occasionally see a clock. It will either

show the beginning of the hour, 20

mins past the hour, or 40 minutes past

the hour. This is to help you get a feel

for where you should be during each

one-hour class.


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The 8th Style School of TangoTango 101: The Fundamentals

NotesClass Description

Introduction

Gather the students in a circle, welcome them and

introduce yourself. Ask the students to share their first

name and one detail with the group (favorite ice cream,

why they want to dance tango, etc...).

Give a brief explanation of what will be covered in this

series and why those elements were chosen. Cover the

following points:

• The students will learn how to tango as it is socially

danced today, enabling them to dance anywhere in

the world. The tango danced in Buenos Aires is the

same as that danced in Moscow and in Hong Kong.

• The students will learn the five most common

elements of the dance and, as a result, they will have

a very good foundation from which to continue their

tango education.

• Students will become more comfortable with being

close to another person in a culture where such

extensive physical contact is immediately perceived

to be sexual and is highly discouraged. Tango is a

place for people to connect to others in a safe way.

• Those who complete the series will have a basic

idea of what social tango is really like (or, they will,

after some practice), and they will have a good idea of

whether they would like to continue dancing tango.

By the end of this introduction, the class will have an

idea of the course of the 5-week series and why this route

has been carefully chosen for them. Your goal during the

introduction is to make the students feel that they are in

good hands.

Marketing

In the rst series, one has to do a little

salesmanship, but it can’t be overt.

Say things like:

“You could spend years taking tango

classes and never really feel like

you’re able to dance, express yourself

or be free”

“We teachers are pretty selfsh people;

our goal is to teach you so well that

we will enjoy dancing with you

relatively quickly, i.e. within the next

six months.”

This kind of marketing is important

for retention. It gives everyone the

idea that they’re getting a good deal,

that they are in the right place and are

getting the “real thing”.

Psychology

Watch your students as they joke

around and, as a result, become more

comfortable with each other and thisstrange situation they’re in. Laughter

is a relaxing thing to share.


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Notes

Exercise 1: Observation

Purpose:

Students will become aware of their own weight, their

partner’s weight, and they will experience what it feels

like to have their weight over one foot or the other.

Description of Exercise:

Reveal to the students that a valuable tool they have isthe ability to tell where their partner’s weight is. Ask the

students to partner up. Leaders will close their eyes while

followers settle all their weight on either their left or right

foot. The leaders will open their eyes, look at their partner

and try to tell which foot they are standing on without

looking down at their partner’s feet. Repeat the exercise

a couple of times, then switch roles. This whole exercise

shouldn’t take much longer than two minutes.

End Result:

Students will be able to tell at a glance which foot their

partner is standing on.


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Notes

Exercise 2: Changing Weight

Purpose:

Students will lead and follow for the first time. They will

learn the value in keeping the dance interesting and in

building and releasing tension.


Show the leaders that they will now change weight withtheir feet absolutely together: heels and toes touching.

The followers will observe the leaders and start to change

weight with them, also with their feet together. There is

no physical contact: they lead and follow with their eyes.

The leaders can make the exercise more interesting by

pausing for a long time on one foot or varying the pace of

the weight change.

End Result:

Students will lead and follow weight changes in place.

Psychology

Why ask leaders to make this exercise

interesting? Would you rather dance

with a metronome or a leader who is

playing with you just a little? Show the

students that even the simplest change

of weight can be exciting and that they

don’t need fancy tricks to keep the

attention of their partner.


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Notes

Exercise 3: Extending the Leg

Purpose:

Students will practice initiating the step and extending the

leg.


Demonstrate the extension a few times and ask the

students to describe what is happening.

• The leader pauses on one foot and leans forward

from the ankles with the whole torso.

• The follower leans forward to mirror the lead. At

the same time, she extends her free leg back without

putting weight on it while keeping her toe on the

ground.

Ask them to try this and to vary the leg that is extended.

End Result:

Students will be prepared for the step forward.

Teaching Tip

Are you more likely to remember

information from a lecture or the answer

to a question you asked? Help your

students become active learners with

thoughtful structuring of your class.

Instead of describing a step in detail,

show the motion a few times, then ask

them to try it. They will discover the

information they are lacking and will

seek the answers they need. (See “5

Tips for Excellent Teaching”).


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Notes

Exercise 4: A Single Step

Purpose:

Students will practice the single step. This exercise also

improves balance and connection with the partner.


Show the single step and reinforce neccesary technique:

• The leader initiates by leaning forward and then

takes a full step forward with his free leg, heel first,

straight into the follower.

• The follower leans forward a little, extends her leg

and steps back, moving her extending leg three to six

inches further back during the step.

• Leads and follows arrive standing straight up and

down.

Once they practice the single step for a few minutes,

this exercise evolves into walking. The leaders will now

step forward and arrive forward (instead of standing up

straight). They will continue to walk heel first straight

towards their partner. Ask the students to practice taking

3 or 4 steps forward before stopping to change weight

again. Give them a few minutes to try this.

End Result:

Students will be able to lead and follow the single forward

step and will have begun walking.


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Notes

Exercise 5: Walking

Purpose:

Students will practice walking with a partner on the

music.


Play music with a heavy beat. If it calls to them, the

students can practice stepping on the beat, but it is moreimportant that they step in sync with their partner.

Ask the leaders to start off with changes of weight in place,

then to pause on one foot, take three or four steps forward,

stop and change weight again. Suggest that the best way

to practice will be to stop and change weight often; this

is the most difficult but also the most efficient way of

practicing the walk. After one song, give the students a

chance to change partners and to repeat the exercise with

someone else.

End Result:

Students will be able to walk around the room with a

partner on the strong beat of the music.

Music

At this point, we use Charamusca

and La Melodia de Nuestra Adios by

Canaro, or another song with a heavy,

slow beat. Late Di Sarli, which is often

used in beginner classes, we reserve

until our later advanced series. We

don’t want to burn our students out on

this beautiful and complex music, sowe choose not to play it early in their

tango education.


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Notes

Exercise 6: Adding Compression

Purpose:

Leaders will add a strong forward intention to their walk

as necessitated by the followers’ technique. Followers

will provide forward pressure and will continue to work

on extending their legs.


Show the followers how to cross their arms in front of

their chest, upper arms held horizontally, and to place their

elbows against the leader’s chest. They will use forward

pressure to help the leads learn how to step with power

and intention.

Note that this pressure comes from the follower’s weight,

rather than from using muscle. Consistency of pressure

is of the utmost importance, rather than the amount of

pressure. Show the leaders that now they must push from

their chest to walk forward.

Have the students change partners and practice this to

music. It is vital at this point for you to go around and make

sure the followers are really pushing; in the beginning

many are reluctant to provide enough pressure. Reassure

them that it is difficult to give too much weight. Give the

students time to practice this until they are comfortable

with the idea of sharing weight.

End Result:

Followers will provide forward pressure with their arms

to improve the quality of the leaders’ walk.

Teaching TipGive the students an amusing

demonstration of what it looks like

when a leader walks forward with his

feet rst. Any follower will be able to

prevent him from moving forward.

Teaching Tip

As soon as possible, begin to

reinforce technique for the followers.

Good technique from the followers

necessitates good technique from

the leaders. If she gives weight and

extends, the leaders must walk forward

correctly. (See “5 Tips for Excellent

Teaching”).


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Notes

Exercise 7: On-the-Body

Purpose:

Students will experience the closeness that is normal

for social tango. They will continue to work on forward

intention and extension.


Reveal to the students that they will be trying the sameexercise again, but that this time the contact will be body

to body, rather than elbows to chest. Show them that they

are looking for a connection between the sternum and

belly, but that this may vary with height. Arms may hang

loosely by their sides.

Give them time to get used to this new position by playing

several songs and rotating partners between each. Let

their experiences teach them, rather than your advice.

Address common issues briefly between songs. Remind

the followers to provide lots of pressure and the leaders to

push forward with their chest.

End Result:

Students will be leading and following the walk on-the-

body.

Psychology

A great way to get a good laugh is to

show everyone all the possible incorrect

variations of the on the body position

(sticking the butt out, ailing arms, no

pressure at all leading to uncomfortable

bumping or toe-squashing, using the

shoulder as chin-rest, etc...).

Psychology

This is an excellent time to remind

people that they would have to either be

dead or in a coma to not feel awkward

doing this. Reassure them that very

quickly it becomes comfortable, pleasant and even liberating to press up

against a stranger and have it not mean

anything, sexually, romantically or

otherwise. The more awkward students

feel now, the more they’ll probably end

up liking it and the more they’ll look

back fondly on this terrible time.


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Notes

Exercise 8: The Single Weight Change

Purpose:

Students will work on building and releasing tension as

well as on the basic mechanics of walking.


Show the class the single weight change: pause on one

foot for a very long time (e.g . counting slowly to 5 orcounting three of the follower’s breaths), change weight

once with feet absolutely together, pause again for a long

time to allow the enormity of the event to sink in, and then

continue walking. This is the single weight change. This

exercise is an elegant one because it is so simple yet so

difficult for many dancers. Give the students a chance to

practice this for one or two songs.

End Result:

Students will lead and follow a single weight change,framed by long periods of stillness.

Psychology

Another great and funny place to show

a few incorrect variations (not doing

the exercise at all, changing weight

several times, changing weight once

but without the pause).


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Notes

Exercise 9: Double-Time Weight Change

Purpose:

Students will begin to hear the double-time in the music.

They will continue to work on walking and on being close

to each other.


Show the students the double-time weight change in place. Demonstrate that this exercise is more difficult if

the feet are not absolutely together or if the upper body

moves much more than the feet. Show this several times

with the music and say the works “quick, quick, slow” out

loud. Play one or two more songs and give the students

the chance to practice the double-time weight change, the

single weight change and walking.

End Result:

Students will lead and follow the double-time weight

change with the music.

Congratulate the class on having started this exciting

journey and let them know that you are looking forward

to being their guide for the next few weeks. Welcome

them to the second golden age of tango.

Teaching Tip

Snapping your ngers or stepping

loudly on the beat will help your

students to hear the strong beat in the

music. Make a habit of marking the

beat of the music as you walk around

the room throughout the class series.

Online Resources!

As your class series continues, don’t

forget that there is an online forum at

your disposal!

Check out www.the8thstyle.com/

teach to see how other teachers are

modifying this curriculum to t their

own needs and to contribute your ownsuggestions to the community.


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Notes

Week 2: Ochos and the Cross

Goal

At the end of class, the students will be able to

lead and follow ochos exiting with the cross at a

success rate of 50% or greater.

Class Description

Review

Purpose:

Students will work on remembering and refining the

concepts they worked on last week. They will also become

more comfortable dancing on-the-body.


Start with a 20 min review of where you left off at the end

of the class last week. Ask the students to warm up by

dancing one song using everything they remember, then

field questions from the group. Address any problems you

see appearing consistently, especially the extension of the

follower’s leg. Remind the followers that the leaders are

tough guys; they can handle much more weight than the

followers are giving them. Remind the leaders that they

are tough guys who walk forward with their chest rather

than their toes. Review single and double-time weight

changes.

End Result:

Students will be walking around the room on-the-body,

using the single and double-time weight changes.

Music

For the rest of the series, we use

recordings made before 1940. This

music is solidly rhythmic and adds a

good, energetic atmosphere to the class.

Orchestras recording during that period

include D’Arienzo, Donato, Canaro,

the DiSarli Sextet, Orchestra Tipica

Victor, and many others.

Teaching Tip

Necessitate good technique rather than

explaining it. If the followers give

sufcient consistent weight, then the

easiest way for leaders to walk is with

a strong forward intention. Generally,

women are better than men at working

on technique consistently, and their

technique is more important early

on since it has such an impact on the

success of the leaders.

(See “5 Tips for Excellent Teaching”).


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Notes

Exercise 1: Getting into Ochos

Purpose:

Students become familiar with and practice the entrance

to ochos.


Demonstrate the entrance into ochos with and without a

partner. Show the leaders that, using the “quick, quick,slow” rhythm, they will step forward with the left foot,

change weight with their feet together, then step diagonally

off to the left. The smoother the movement of their upper

body is, the more successful this transition will be. Let the

leaders practice this by themselves a few times.

Show the followers that, because the leader veers off to

the left, they do not change weight in place when the

leader does. As a result, they end up stepping across their

bodies behind and to the right with their left leg as the

leader steps diagonally forward with his left. Give them a

song to practice the entrance into ochos.

The Entrance to Ochos(standing leg)

Leader’stiming

Leader Follower’stiming

Follower

quick Step diagonallyto left (L)

slow Step backwith right (R)

quick Change weightin place (R)

slow Step diagonallyto left (L)

slow Step backwith left (L)

End Result:

Students will lead and follow the entrance into ochos.

Terminology

Parallel-system: Leaders and followers

step with opposite feet: when he steps

with the left, she steps with the right.Used in the walk.

Cross-system: Leaders and followers

step with the same feet: when he steps

with the left, she steps with the left.

Used in ochos.

It is not necessary that the students

understand this now, but it will help

you to explain concepts later.


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Notes

Exercise 2: Moving Forward in Ochos

Purpose:

Students will practice the entrance to ochos and walking

in cross-system.


Show the students that, now that they are in cross-system,

it is hazardous for the leader to walk forward as he doesduring the normal walk. Demonstrate how the leader can

step forward diagonally, keeping his body in front of his

partner, and thus avoid stepping on her feet. His shoulders

will face forward so that the follower does not need to

pivot. She will cross behind herself, keeping her hips

facing forward and without pivoting. Give them a song to

practice, then field questions.

Show the followers that comfort during ochos is their

responsibility. As soon as they feel that the leader is not

directly in front of them, they may fall away from their

leader and become uncomfortable. This can be avoided by focusing on good walking technique. Encourage the

followers to stick to their leaders, to extend and to give

consistent forward pressure. Give the students more time

to practice. Since they don’t know how to exit yet, they can

stop and then start again from a walk to re-enter ochos.

End Result:

Students will enter cross system and move forward using

non-pivoting back ochos for the follower.


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Notes

Exercise 3:Exiting with the Cross, Part 1

Purpose:

Students will practice ochos and will begin work on the

cross.


Soon after they learn how to walk in ochos, some studentswill ask about the exit. Show the cross a few times.

Demonstrate that, as the leader steps with his right foot

to the left of his follower, the follower must cross her left

foot over her right to stay in front of him. Let the followers

practice taking a large step back with their right foot,

crossing their left over their right, and then taking another

large step back with the right by themselves. Emphasize

the length of the step. Give the students a chance to

practice with this information and to form their own

questions. This is a challenging move and they will learn

fastest if they seek out the information for themselves.

The Cross(standing leg)

Leader’stiming

Leader Follower’stiming

Follower

slow Large step to the leftof the follower withthe right foot (R)

quick Large stepback with the

right (R)

quick Cross left overright (L)

slow Step in line with theleft (L)

slow Step back withthe right (R)

End Result:

Students start to work on exiting with the cross.

Teaching Tip

Before they try the cross with a

partner, have your students practice

by themselves in a large circle. Show

them how to take a large step back

with their right foot, crossing their left

over their right and then taking another

large step back with the right. Practice

this in time with the music, reinforcing

the “quick, quick, slow” timing. Both

leaders and followers will benet from

experiencing what the cross feels like.


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Notes

Exercise 4:Exiting with the Cross, Part 2

Purpose:

Students have as much practice time as possible to work

on the mechanics of ochos and the cross.


Show the step in more detail and field questions fromthe group. Demonstrate that the leaders hesitate a tiny bit

on the left step when they want to exit and then take a

deep step to the left with the right foot and keep walking

forward normally. Followers will cross (they probably

won’t for the first several songs).

Give the students as much time as possible to practice.

Continue to provide a small amount of feedback between

songs, but let the students work. If followers say that they

do not feel the lead for the cross, encourage them to take

a larger step back with their right foot. Suggest to the

leaders that they can turn their torsos to the right as they

step forward with the right foot in order to continue facing

their follower.

End Result:

Students will start to be able to exit ochos with the cross

successfully.

Congratulate the class on tackling their first really difficult

piece of tango vocabulary. Tell them that the cross may

feel strange right now, but that they will review it during

the next class. By the end of the series, ochos and the

cross will feel just like home.

Psychology

Why do leaders hesitate right before

they lead the cross? This very tiny

pause gets the follower’s attention and

lets her know that something different

is coming. It should be very minor, a

hint that things are changing. Note thatthis pause is similar in purpose to the

pause in the rst class when the leader

was about to lead the extension for the

forward step.

Teaching Tip

This is The Miracle of the Cross. From

this point on, the students won’t need

much more teacher input. More time

spent explaining is less time spent

practicing. The situation may look

hopeless for a little while, but your

students will be crossing like champs

by the end of the hour.


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NotesWeek 3:

Rock-Step Turn to the Left

Goal

To solidify ochos and the cross and to teach the

first turn, the rock-step turn to the left.

Class Description

Review

Purpose:


concepts they worked on last week.




dancing one song using everything they remember, and

then field questions from the group. Address any problems

you see appearing consistently. Ochos will likely be adisaster at first. Demonstrate the entrance and exit a few

times and then give them time to try it again.

After another song of practice, their technique will

improve and they will develop clearer questions. If

followers report that they do not feel the cross, show them

how they can stretch their right leg out farther to make it

more convenient for them to cross. Between songs, show

aspects of technique such as the leader’s slight twist to the

right when stepping with the right leg off to the left, the

follower’s extension, etc....

End Result:

Students will be walking around the room on-the-body,

without using their arms. They will be fairly comfortable

with the walk, single and double-time weight changes.

They will be entering ochos and exiting with the cross

with some success.


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Notes

Exercise 1: The Rock-Step

Purpose:

Students re-acquaint themselves with the “quick, quick,

slow” timing. Leaders practice keeping some weight

back and followers practice keeping their weight forward

during the rock-step.


Reveal to the students that there are two directions of

motion in tango: linear and curved. They have begun to

master two different ways of moving forward, walking

and ochos, so now they are ready to begin exploring turns.

Remind the students of the “quick, quick, slow” rhythm

they learned in the first class. Show them how they can

rock forward and back on the left foot during the “quick,

quick” then stay in place during the “slow, slow”.

Give everyone the chance to practice the leader’s footwork

with you as you stand in a circle. Show that not all of the

weight is transferred forward onto the left foot during therock. Switch to the followers’ footwork and show that the

follower’s body stays forward. Repeat the words “quick,

quick, slow, slow” in time with the footwork. Demonstrate

the motion a few times with a partner, then ask them to

practice it together.

End Result:

Students will lead and follow the rock-step in place.


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Notes

Exercise 2: Turning the Rock-Step

Purpose:

Students work on staying connected throughout the turn

and on returning to line of dance.


Demonstrate the rock-step turn to the left a few times.

Ask the students where the lead for the turn starts: in theleft shoulder and chest of the leader. Give the students a

song to practice turning the rock step.

Watch as they practice and notice if they are having trouble

maintaining the connection during the rock step. Tell them

this bumping is not unusual, but that it can be avoided. It

is a result of the leader taking his weight too far forward,

the follower taking her weight too far back or, most likely,

both. Encourage both partners to concentrate on keeping

a constant chest connection. Show the followers how to

twist their bodies to their right to stay with the leader as

he turns.

End Result:

Students lead and follow the rock-step turn to the left in

a full circle.


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Notes

Exercise 3: Refining the Rock-Step Turn

Purpose:

Students will concentrate on making the turn smooth,

subtle and comfortable for both parties.


Show the leaders that it is much easier for the followers

if the he stays in the same place and she turns aroundhim. Once they have the basic movement down, show the

students that, with some practice, partners can manage to

turn all the way around with two rock-step turns to the

left while continuing to maintain a nice body connection.

The important thing during the turn is to be connected and

musical, not how swiftly the couple can return to line of

dance.

Show them that, in the beginning, it often helps to be

a little conservative and to use three rock-steps in a

complete turn. Give them a couple of songs to practice

this, mixing in ochos and walking. Mention that the turnis a useful navigational tool when they are stuck behind

another couple.

End Result:

Students will be comfortable leading the rock-step turn

twice or three times in a row to return to line of dance.

They are able to keep the body connection solid.

Tango Values

Let your students in on a little secret:

Musicality and connection are much

more important than fancy steps!

Navigation is also an important element

to consider while dancing.


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Notes

Exercise 4: Preparation for the Embrace

Purpose:

Students will get used to carrying the weight of their own

arms and to maintaining their balance without using the

arms.


Briefly demonstrate the new arm position for the students.The follower’s arms reach straight up with the palms

facing out. The leader’s arms encircle the follower

without touching her to create a sense of envelopment and

protection. They maintain the on-the-body connection.

Give the students a song or two to practice ochos and the

rock-step turn to the left in this embrace.

End Result:

Students will dance on-the-body with the leader’s arms

encircling but not touching the follower and the follower’s

arms reaching up.


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Notes

Exercise 5: Creating the Embrace

Purpose:

Students will practice forming and dancing in the

embrace.


Demonstrate and describe how the embrace is formed.

The body connection occurs first, exactly as the studentshave been dancing for the last few weeks. The closed

side of the embrace wraps all the way around (right hand

around the back for leads, left hand over the shoulders for

followers). The follower takes responsibility for the shape

and quality of the open side of the embrace. She raises her

right hand until her upper arms are roughly symmetrical.

Her hand turns out (away from her face) and her wrist

bends back slightly. The leader raises his hand to meet

hers, creating an embrace that is protective and caring.

Give the students a song or two to dance, practicing their

ochos, cross and rock-step turn to the left in the embrace.Play a game or two to help students get used to the embrace

without using the arms for lead or balance. Admire how

beautiful your students have become.

End Result:

Students will dance around the room with powerful and

beautiful embraces.

Embrace GamesWhen we add an embrace to our

hard-earned body connection, it can

be nearly impossible to refrain from

using the arms to lead and follow,

rather than the body. Play games to

help your students adjust to sustaining

an embrace without using their arms.

During one song, call out “arms away”

and “arms back” to help them transition

between these states.


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NotesWeek 4:

Rock-Step Turn to the Right

Goal

To review and practice the vocabulary learned

thus far and to learn the rock-step turn to the

right.

Class Description

Review

Purpose:


concepts they have been working on over the last few

weeks.


Start with a 20 min review of where you left off at the

end of the class last week. Ask the students to warm up

by dancing one song using everything they remember,

and then field questions from the group. Address any

problems you see appearing consistently. Ochos should be

better by now and most people will be fairly comfortable

with the rock-step turn to the left after a bit of practice.

It is important to field questions, but it is more important

simply to give them time to practice with different

partners.

End Result:

Students will dance around the room on-the-body without

using their arms. They should be fairly comfortable with

most of the vocabulary covered so far in the series. They

will probably still have some difficulties with ochos, the

cross and the rock-step turn to the left.


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Notes

Exercise 1: Rock-Step Turn to the Right

Purpose:

Students will practice the mechanics of turning to the

right, focusing on the follower’s step forward.


Show the first three steps of the rock-step turn to the right

(through the follower’s forward step) and ask the students

to describe what you are doing. Compare it to the turnthey learned last week: the rhythm and the beginning step

are the same, but now the leader turns to the right instead

of the left. As a result, the follower takes a large step

forward between the couple. Demonstrate and emphasize

this, pausing on the follower’s forward step and separating

from your partner. Show the students how much twist

both the leader and the follower need to stay together, as

well as how big the follower’s step should be. Give them

time to practice this. As they start to get it, mention the

following points:

• The leader initiates the turn to the right early

by starting to open the right shoulder as he rocks

forward.

• The balance of the leader is delicate: if he leans too

far back, the follower will run into his foot or she

won’t step forward, if he leans too far forward, she

will step behind instead of in front.

• The follower needs to provide consistant forward

pressure and to twist to the right on the forward step

so that she may stay comfortably connected with her

partner.

Rotate partners and give them another song to practice.

End Result:

Students will lead and follow the first half of the rock step

turn to the right.


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Notes

Exercise 2:Rock-Step Turn to the Right, Continued

Purpose:

Students will practice the first half of the turn and will

learn how to resolve and repeat it as needed.


Demonstrate the complete turn for the students, showingthe sidestep after the follower’s forward step and

emphasizing the “quick, quick, slow, slow” timing. Show

them that the turn can repeat until they return to line of

dance. The placement of the leader’s feet is not specified,

but the timing is. He should concentrate on staying in

place, leading his partner around him and shuffling his

feet to keep the same “quick, quick, slow, slow” rhythm as

hers. Give the students several songs to practice, rotating

partners and fielding questions between each.

Emphasize that the follower’s forward step is large and

energetic. Show the followers that it is easier to stay with

the leader if they keep their left shoulder close to his.

End Result:

Students will complete sequential rock-step turns to the

right until they return to line of dance.

The Spinal Adjustment

This game helps the followers put more

energy into the turn and helps leaders

feel where the followers need to be led.

Ask the followers to wrap their arms

tightly around the leader’s midsection

and to take a large and energetic step

forward during the turn to the right.

Her energy will bring the leader farther

around than he led! She can continue to

add the same amount of energy, while

gradually releasing her arms during the

course of a song.


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Notes

Exercise 3: Adding the Embrace

Purpose:

Students will practice walking, ochos, the cross and the

turns to the left and right in the embrace.


Ask the students to describe how the embrace is formed.

Go over the order: body first, closed side, then open side.Focus again on how the follower shapes the open side

of the embrace and on the lightness of the closed side.

Ask them dance a song using all of their vocabulary. Use

games to help them adjust to the embrace without using it

for the lead or for balance.

End Result:

Students will dance using all of their vocabulary in the

embrace.

Embrace Games

Show your students how the leaders can

do one of two things wrong: they can

squeeze too much with the right arm

or lean down on the follower’s head

with their own head. When either of

these causes the follower any amount

of discomfort, she raises her left arm

gracefully all the way up in the air. She

keeps her arm up until the leader takes

his arm entirely away, and then both

return to the embrace. Describe to the

students how this occurs in a milonga.

If a follower feels at al l uncomfortable

or off-balance, she will raise her arm

to reset her own posture. This causes

the leader unconsciously to reset his

own arm. Encourage the leaders to

exaggerate the squeezing and the head-

leaning and the followers to lift their

arms often.


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Notes

Week 5: Ocho Cortado

Goal

To practice and review the vocabulary learned

thus far and to learn the ocho cortado.

Class Description

Review

Purpose:

Students will remember and refine the concepts they have

been working on over the last few weeks.




dancing one song using everything they remember, and

then field questions from the group. Address any problems

you see appearing consistently. The rock-step turn to the

right will still be difficult. Review the technique for the

right turn extensively and give them time to practice.

Remind the followers to put energy and twist into the

forward step and remind the leaders to lean forward a

little. Once they are fairly comfortable with this turn, they

are ready to move on to the ocho cortado.

End Result:

Students will dance around the room on-the-body without

using their arms. They should be fairly comfortable with

most of the vocabulary covered so far in the series.


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Notes

Exercise 1:Technique for the Ocho Cortado

Purpose:

Students will practice their half of the ocho cortado

individually to become familiar with the motion.


Split the class into leaders and followers so that they can practice by themselves. Demonstrate the second half of

the ocho cortado for the followers: starting in a side-

step, they turn their shoulders 90° counterclockwise. The

hips follow the shoulders and the left foot slides into the

cross heel first. Give them time to practice this motion a

few times and then demonstrate the entire ocho cortado.

Suggest that the followers say the timing to themselves

(“quick, quick, slow, quick, quick, slow”) as they complete

the movement.

Simultaneously, work with the leaders on their half of the

step. Direct the attention of the leads to the movement of

their shoulders rather than their feet. Demonstrate that the

motion is two quarter turns to the right, followed by a half

turn to the left. Emphasize that they are shuffling their

feet in time with the follower’s steps, but it is really their

shoulders that are leading the movement. Allow them time

to practice by themselves, repeating the timing (“quick,

quick, slow, quick, quick, slow”) over to themselves as

they step.


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Notes

The Timing of the Ocho Cortado(standing leg)

Leader’srhythm

Leader Follower’srhythm

Follower

quick Rock forwardwith left (L)

quick Rock back withright (R)

quick Rock back onright (R)

quick Rock forwardon left (L)

slow Feet together,turn to right

(L)

slow Step forwardwith right (R)

quick Turn more toright (R)

quick Sidestep withleft (L)

quick Turn to left(L)

quick Shift weight toright (R)

slow Turn more toleft (R)

slow Cross left overright (L)

End Result:

Leaders and followers complete the motions of the ocho

cortado by themselves.


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Notes

Exercise 2: Putting it Together

Purpose:

Students will start to feel the ocho cortado with a partner

and will further familiarize themselves with their own

half of the step. They will also form their own questions

about how the movement works.


Demonstrate the ocho cortado with a partner several times,

then give the students one song to practice. The ocho

cortado will almost certainly be a disaster. Demonstrate

the movement a few more times and emphasize the

following techincal points:

• Both the timing of the steps and the forward intention

are very important for the leader.

• The follower should feel as if she “locks” into the

cross.

• The leader should take very tiny steps and turn his

chest a lot.

Address any other aspects that are problematic throughout

the class, but keep talking to a minimum. Give them

another song to practice.

End Result:

Students will start to be able to lead and follow the ocho

cortado.

The SpinalAdjustment Revisited

Use the spinal adjustment exercise

again to help students understand

the ocho cortado. The follower canlead herself in the movement around

the lead as he feels the timing and

placement of her feet. She can also

continue to work on adding energy in

the forward step.


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Notes

Exercise 3: Adding the Embrace

Purpose:

Students will practice dancing in the embrace and all of

their current vocabulary.


Ask the students to describe how the embrace is formed.

Go over the order: body first, then closed side, and thenopen side. Focus again on how the follower shapes the

open side of the embrace as well as on the lightness of the

closed side. Have them take the embrace and dance a song

using all of their vocabulary.

End Result:

Students will dance using all of their vocabulary with the

embrace.

Embrace Games

Play the earlier embrace games again

or make up your own!


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Notes

Closing the Series:

Congratulate the students on having successfully

completed their first tango series class. Tell them that

they are now ready to start going out to social dances and

watching the dancers on the floor. Give them an idea of

what they might expect from social dancing, including the

line of dance and basic milonga ettiquete. Let them know

that you will be starting the next series of classes, which

will be a continuation of this series, in the next week or

two and that they have priority for registration. Thank

them for all of their hard work.

Psychology

Telling the students that they are ready

to start watching social dancing will

make them want to dance even more.

We always desire what we cannot have.

(See “5 Tips for Excellent Teaching”).


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The 8th Style

Seattle, WA

tango 101 - the fundamentals

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