The other way round

I've just got back from class that turned out to be really interesting. The topic was "renewing the tango" and the point Adrian and Amanda Costa were making with it (and I paraphrase here) was that to make the dance your own you have to take it apart and put it together in your own way - we are not dancing in the forties - but with full respect to the essence of tango, which is a social dance, which means that you dance it with other people besides your partner, and you have to consider them, which means further that you must be much more creative than you would be if you were just wafting about in space. Having a problem to solve makes you creative. That's the idea.

Anyway, the exercises were a lot of fun and people who can't get to a class or don't like taking classes could certainly try them at a practice or at home, so I might as well put it out there.

Setup
Start with a plain old 'salida' - sidestep to the man's left, step, step, cross the woman's left over right. Just that.

Exercise 1 - making a discovery
Find out from first principles how to do it the other way - that is, sidestep to the man's right, step, step, cross the woman's right over left.

Exercise 2 - making it work
Hey, you've invented something new. But it means that the first sidestep goes the wrong way, where you can't see because the woman's head is there. So in its current form, it's completely useless for social dancing. Now find out how to make what you've discovered fit into the rules for floorcraft - i.e. never changing lanes and never going where you can't see. (And generally, he told us, when a teacher shows you something you like, but you do it and it has a problem like this, or like ending up facing the wrong way, ask them how to make it work for social dancing, because then they will stop worrying that you'll leave if they talk about those things).

As those rules are hard to explain in words and can sound rather unconvincing, here again is my little top-view diagram of Adrian and Amanda from my post last Spring. Again we will suppose that the couple are in the outside lane, the wall or seating is to the right, and the boundary with the inside lane is about where the arrow marked 'line of dance' is. And we see that they can go anywhere in the green zone, which is where the man can see, until they get too close to a lane boundary and don't leave themselves enough space to turn. But they can't go into the red zone at all because the man won't be able see where he's going and therefore it's not safe.


Between about a dozen couples I think the class found three or four different solutions to this problem. This was the part that took the biggest chunk of time and the solutions they came up with were all very nice. I'll write what I can remember about them in white ink below - select the next paragraph with your mouse when you're ready to peek.

• A normal salida at an angle to your lane so that it zigs from one side of it to the other, followed by the mirror one to zag the other way. Very simple [and maybe relies on a fairly narrow lane] but it works.
• A normal salida with an extra weight change after which you step outside her on the other side.
• Do it at a corner (if I remember correctly, where the sidestep goes round the woman into the corner).
• Normal salida but with, I think, just one extra walking step. I'm not sure if I understood this one correctly but it looked extremely neat and elegant and original and Adrian seemed to like it a lot. So did I.

Exercise 3 - making it musical
Now find out where it goes in the music.

You probably can't solve all three problems at once but you can definitely learn something by taking them one at a time.

I had brought the wrong shoes, that I was too tired for, and my posture was scrambled, but that class was fun!