Tango y Té

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Tango Study Group

For those who want to learn to feel, understand, and do, "from the inside, out" the happiness of authentic Argentine Tango motion.

We addresses:
-tango posture, balance, and weight transfer
-tango's concept of creating and using body axis
-the principle of initiating motion from the torso
-cadence, as the fundamental element that ties motion to music
-improvisation; connecting flow of motion to the emotion of the music's melody

Tango Study Group meets Thursdays, 6:30pm
It is open to beginners and others who want to improve their foundations of Argentine Tango

Call 352-328-7916 for information or david.chayes@gmail.com

Mimi Santapa

Read about the Workshops given by Mimi Santapa, June 2009

Frequently Asked Questions

Why do tango dancers practice walking all the time?
What is desirable in walking?
What is "cadence?"
What is "connection?"
What is "zero point?"
Should I "collect my feet" at the zero point?
But shouldn't my feet come together?

Q: Why do tango dancers practice walking all the time?

A: Walking well means that when you walk, you are already moving "in" the music. You are then free to focus on the melody and express whatever it "says" to you. No need to think, "let my chest move, don't rush, relax my knee," etc. because these things already happen--they happen "IN" the music. There is an analogy with acting: by getting inside a character's skin and feeling his emotions and motivations, the actor is then free to focus on the scene and let his words come out naturally, instead of reading them off like a robot.

In addition, learning the proper articulation of your walk is the only thing that enables you to change the direction, energy, and emotion of ANY step, not only together with the music, but ALSO together with your partner.

Q: What is desirable in walking?

A: Good walking means, walking in a natural way that matches the basic mood, style, and cadence of the music.

Q: What is "cadence?"

A: "Cadence" means a rhythmic rise and fall. It is the particular quality of rising and falling that is characteristic of the basic tango rhythm. Specifically, every cadence consists of two beats, an "up beat" and a "down beat." The down beat is the beat that our foot lands when we dance the basic tango rhythm. What gives tango music it's "tango feeling" is the way that the up beat creates a feeling of suspense and expectation that is resolved in the feeling of finality of the down beat. The up beat seems to last a long time. During the up beat both our legs are underneath us. Some refer to this phase as the "preparation" phase of the step, and the  down beat as the "action" phase.

(Note: the "rising and falling" is not just an action of the body literally going up and down, but rather, a more abstract quality of the rhythm of the movement.)

Q: What is "connection?"

A: Connection is a perception, when dancing, of being together with your partner. You have this perception when the motion of your body is unified with the motion of your partner's body, and each perceives how one's partner's motion is anchored by his/her own axis. In other words: at any particular instance, we understand (feel) how our partner's motion relates to his/her axis similarly to our own--we know "where" he/she is: flowing TO, OVER, or FROM his "zero point," and we are right there with him/her!

Q: What is "zero point?"

A: "Zero point" is the moment when, after we reach our axis, the knee of the free leg falls down underneath our body.  It is perceived as a moment of rest. In reality, our torso will still be continuing in a flow of motion. (this is not always done at all times by all dancers but it is very beautiful), unless we decide to pause.

Q: Should I "collect my feet" at the zero point?

A: It is a misconception that one should "collect the feet" in order to achieve complete weight transfer and execute clean footwork, easy turning, etc. All these things are in fact achieved by letting the torso move on top of one's support, and letting the freed leg relax (disassociate). Letting the body move first, at all times, is what creates elegance and effortlessness of motion. The free leg is than pulled along by the body, similar to the action of a string puppet.

"Collecting the feet" for completion has the detrimental effect of breaking the flow of motion (hampering musicality) and making dancing hard work (sweating and panting!). "Collecting the feet" is not elegant. It turns the lady's job of following into constant anticipating and for that reason it has been compared to "obedience training."

At the risk of going on and on excessively about this subject . . . The ACTION of "collecting" is the introduction of tension in the ankle, exactly when the ankle should be beautifully relaxed. Also, using "collection" for completion fouls up the timing if one wants to pivot, bringing the risk of ankle injury.

Q: But shouldn't my feet come together?

A: Of course it is good to make your feet brush past each other. Seeing if you can make the feet come together, when your ankle stays relaxed is a good test of balance. What is important is not whether the feet come close together (that is only one of the options), but that the knee of the free leg falls down underneath the body and is drawn toward the body as the torso is on axis and creates a clear direction when it flows over it's support. The action is the knee that guiding the foot, not the ankle "clamping down."