I had an Aha Moment about walking and improvisation when a student of another teacher asked me to teach him my ‘style’. His teacher was an Argentine who graduated from the ‘tango university’ and was teaching the sort of long, erect walking that is typical of Salon Style Tango, very elegant and upright looking. When they visited my practica I didn’t know what his teaching method was. Anyway, I showed the guy a simple pattern, which commonly goes by ‘ocho cortado’, but the guy couldn’t do it. I was puzzled given that the guy was obviously studying hard with his teacher and really wanted to get my ‘move’. I found myself telling him that the step he’s taking is too long for close embrace, and that he needs to make smaller steps to execute the pattern.
What he was doing was actually what is commonly taught, namely, pushing horizontally into the step. When I visited the other teacher’s class soon afterwards I had my Aha Moment when I saw that the Argentinian teacher had the students walking around in a circle pushing horizontally into the steps. I actually used to teach in exactly the same way as this is the most common practice in tango instruction, but it just didn’t occur to me that this could actually be an impediment to the close embrace tango that I was now teaching. What I realised is that pushing horizontally into the step while walking, taught directly and turned into a habit, commits the dancer to a large step which is not ‘reversible’.
The issue is not that one should not take large steps while dancing, but rather that one should take a step that is as long as needed. As a rule you learn what you practice, ie., what you practice turns thereby into a habit. If you practice taking long steps, pushing horizontally into the step, then that becomes the habit. A student who is trained into such steps finds that they cannot take smaller steps in the inculcated belief that a tango walk is always this sort of long step. Another way of looking at this is that the teaching method teaches the view that walking is a lower body action, and not a whole body action, it’s what you do with your legs.
The issue is not that one should not take large steps while dancing, but rather that one should take a step that is as long as needed. As a rule you learn what you practice, ie.,what you practice turns thereby into a habit. If you practice taking long steps, pushing horizontally into the step, then that becomes the habit.
What we actually want, however, is a walking action that integrates the whole body, so that the legs adjust to what the upper body is doing. In the case of Tango Estilo Milonguero, the upper body is connected to another body, and the legs need to adjust to that. That’s why, practicing walking by yourself leads to the sort of partnering that is disjointed: we learn to move the legs and feet in a disjointed way, independently of the upper body and ultimately independently of our partner. But that is at odds with the goal of tango training which is to move in a way that is connected to our partner.
Principle of reversibility
So the question is how or what should we practice, individually or with a partner, so that our walking is more connected. The difference between improvised and choreographed dancing is that in improvised dancing we respond in the moment. We are not committed to any sequence of two or more steps, but make or change a decision at any point in time. That means that the way we dance must allow us to stop and change direction. In fact, Moshe Feldenkrais (a student of F.M. Alexander and developer of the Feldenkrais Method) argued that a fundamental principle of freedom in movement, rather than being some sort of lack of inhibition, is this sort of reversibility defined as having the maximum number of options at any point in time:
“Moshe Feldenkrais said that reversibility was a key criteria for determining whether a particular movement is done well. Reversibility basically means the capacity to stop a movement at any point and then go in the opposite direction with a minimum of hesitation. … One aspect of reversibility is that its presence implies a more general and important skill – the ability to move in any direction with a minimum of hesitation or preparation. In other words, if you can go back where you came from, you could probably go in any other direction as well. Feldenkrais considered this quality of preparedness to move anywhere as the ultimate goal of movement training, an ideal state of affairs which represents the highest level of physical organization.” Bettermovement.com
In tango we have a range of options at any point in time and the principle of reversibility means that the goal of our training in tango movement is that we are able to move in a way allowing us to stop at any point and change direction.
So the question is whether the sort of training whereby we power horizontally into the step as a matter of course provides for reversibility. If we learn to walk with an elongated step projecting horizontally forward or backward, at the moment of projecting into space we are unable to reverse for the duration of that long step. The source of the problem that I see is that this sort of movement is initiated without adequate regard for what is happening at the embrace. If we have a good embrace and there is good connection, it is possible to take longer steps with good control in a way that is reversible.
If, on the other hand, we instead learn to walk by taking long power steps, practicing this alone and making that our normal way to walk, this robs us of the ability to respond to situations where small steps are required, which is actually most situations in a social dancing context. As a result, our movement will have a lot of power but relatively little control or flexibility. At the end of a power step we will have to ‘land’ which will require a long ‘runway’. Our dancing will be like the action of a large jumbo jet which will be impressive but not very nimble. Great for the floor show in eating up all that empty studio floorspace but completely useless in limited cafe spaces where good floorskills are of the essence.
I do not want to be excessively prescriptive about making large or small steps, but instead to draw out the consequences of a type of training that focuses on one or the other. The sort of training that gets students to walk around in a circle powering horizontally into the step forward or back will lead to habitual movement of a particular type which requires a certain amount of space. If one has access to large studio spaces where each couple can have a space of 2 meters in diameter around them then large power steps are viable, but in most cities such spaces come at a premium at the door. So when one gets this type of training one should bear in mind that there is a longer term price tag for that which extends beyond the price of the class itself. There isn’t a single reason to prefer a more efficient, improvisational type of movement, but a range of reasons that include use of space, access to partners, range of music one can dance to, effort involved.
Elongated power walk as end-gaining
The Principle of Reversibility is a development of Alexander’s distinction between end-gaining vs. means-whereby. Alexander held that by excessively focusing on a goal we create tension and are unable to use our physical constitution efficiently, in accordance with its natural design. Feldenkrais further develops this idea in terms of the notion that a movement which is efficient by Alexander’s standards is reversible. He holds, as did Alexander, that it is this sort of reversibility, rather than self-expression and lack of inhibition, that is actually the standard of freedom and spontaneity.
So on this view, taking long power steps, as with most choreography instruction, is a case of end-gaining. Some aspects of dancing are more conspicuous than others. Those that are highly conspicuous are naturally the most impressive to the uninformed viewer who is then apt to be misled into identifying them as the markers ‘good dancing’. If the viewer is a learner he is then apt to attempt to emulate them. They are the goal of his practice. Unfortunately for the learner, seeking to emulate what he considers the mark of good dancing, he is merely imitating what are in fact superficial aspects of dancing.
A tango show can be viewed as a collection of visually impressive clichés taken from what can be seen in the actions of some (thought not all) competent social dancers, collected into a single choreography and magnified with stage dancing technique. Whereas originally they were emergent aspects of natural dancing technique (see Emergent Movement) applied directly to movement learning they become fixed choreography. They then become visually impressive, which in the context of social dancing offers the dancers the image that they are performing but thereby takes away the satisfaction inherent in movement that is natural, spontaneous, and connected.
A tango show can be viewed as a collection of visually impressive clichés taken from what can be seen in the actions of some social dancers, collected in a single choreography and magnified with stage dancing technique. Whereas originally these were emergent aspects of natural dancing technique, applied directly to movement learning they become fixed choreography.
Partnering practice: the Fingertip Dance
It is common to analyse the traditional tango walking as powering horizontally into the step. In scientific analyses such subjective perceptual judgements should be gauged against universal principles. If we take the relevant universal principle to be the Principle of Reversibility then an interpretation of circular motion initiated vertically is more plausible. You can test this yourself with a simple partnering exercise. When two partners connect at any point on the body, then the most efficient or reversible interaction between them is not linear or horizontal, but circular.
To test this yourself you can try the “fingertip dance” which is a basic movement exploration in Contact Improvisation. In this exercise two partners touch at the tip of an index finger of one hand. It is sometimes better to do this exercise with your eyes closed. The purpose of this exercise is to explore movements while maintaining the pressure and connection between the two fingers. To those inexperienced at this it will be a bit challenging to begin with. Probably one partner should initiate and the other partner should listen or follow. The purpose of this exercise is to learn how the two partners need to participate in order to maintain the connection while moving together.
In the course of such a movement exploration it is useful to ask some questions: What do we need to do in order to sustain the pressure between the fingertips? Do we need to move the body, eg., take a step, in response to any movement? How fast should we move in order for our partner to be able to respond? How can we indicate the direction of the movement for our partner to respond? How can we respond to what our partner is doing. How is moving in a line different from moving in a circle? And so on. What we’ll find is that with repeated practice we learn the ‘rules’ of the fingertip dance and are able to initiate and respond better to our partner and also that we are able to exchange the initiating and listening roles so that the movement is ‘co-authored’ by the two partners in the moment. It will also be found that reversability of movement is essential for this to happen.
Individual practice of 3-D reversible walking
A reversible way to walk initiates a movement without committing the dancer in a horizontal direction. That means that the movement that is reversible needs to be vertical. Moreover, when the movement is initiated we want the movement to be circular or elliptical, with gradually increasing cycles. In other words, we always initiate with small movements or cycles, each cycle initiated vertically rather than horizontally. A horizontally initiated cycle will create tension in the listener that will be detrimental to reversibility. In other words, when we move into the follower, this will turn into a power move because the follower will perceive this as something to resist. The circular oscillation of movement will be lost at that point and the dance acquires a one-dimensional character. An alternative is to move in place in two-dimensions—vertical up-down, and horizontal to the side—before moving in the third dimension, ie., forward or back.
See also: Walking: the basic movement of tango