Discussion in 'Tango Argentino' started by LoveTango, Mar 16, 2011.
Almost all teachers in London never, ever, explain this.
Although I do
I try to use the 4-point learning model (unconscious incompetence -> conscious incompetence -> conscious competence -> unconscious competence) as a rough analogy for the learning process, for each of the many areas required to dance tango.
But in answer to your question ("how long to get from conscious competence -> unconscious competence") is "it depends"... to get the basics of dancing competently without conscious thought will take years, definitely. Maybe as little as a year, if you do a lot of work, but possibly as many as "never".
How do you mean "try to use" the 4-point learning model?
Surely it's no more than a method of trying to explain the adult learning
processes and the possible stages we go through. I don't see it as a model
to be followed or implemented but just a rational way of explanation
that the conscious and unconscious stages are entirely normal.
Yes, as individual as . . . err . . . individuals.
And perhaps how much you want to challenge yourself.
There's a weird stage too of realisation that you just danced unconsciously,
wondering then just how you did it, and the realisation that whatever
it was you had you've just lost again. Perhaps it's just me?
cheers ; something new for my sig....
although I suspect I maybe like that alien in Ray Bradbury's Martian Chronicles who become whoever was projected on him.....
Ah well, I guess I'm currently stuck being conscious of my incompetence. But as Peaches said, it's not a race, and perhaps I just have to be a bit more patient with myself (unless I run out of followers who will dance with me at all, but then there are other towns...)
I tried to PM you but you're all snooty and not receiving messages - can you PM me?
In terms of explanations to people. Not in terms of how I teach. Sorry for the confusion...
Ha! I've changed my message settings now. Snooty...
Patience is necessary when learning tango. Too many dancers fail to learn simply due to lack of patience. However, all things come to he who waits, as long as he works his b*tt off while he waits. (Is that word permissible here)?
Most improvement in AT is made through small increments. It's important for you to look for and notice those little increments. By noticing them you will strengthen them, and you'll find reward for your efforts, small as it is. (Small as the reward is). Many little improvements will make you a good dancer.
I strongly suggest "deliberate practice". Look it up. It means decide on a specific skill that you want to improve (e.a., knowing which foot your partner is on); devise a drill/practice that will focus your attention narrowly on that skill; do the practice mindfully, with huge focus of attention.
Okay, I'll stop there.
What on earth does this even mean? There are plenty of men and women who are interested in complexity.
I'm not sure why you are commenting on her attitude. I think it's a very valid point, particularly for leaders who are going the minimalist route. Just because it is possible to dance an interesting dance with no special moves, only walking, does not mean every leader can do so. Or that every follower would want to do so.
Leaders who want to go this way should understand they still have to work at it.
Certainly true. I've focused my attention on trying to do simple steps very well - Cacho was my inspiration - and certain women don't care to dance with me because that's all I do. That's fine with me: we're simply not a match on the dance floor, and that happens.
No matter how good you get, there will always be someone who won't like you. Such is life.
And I so wanted to please them all!
There is one big TABU for Tango-teachers: That's teaching during a Milonga.
When going to a Milonga, a teacher might be asked to do a demo, but anything that is related to teaching should be off-limits. It belongs into classes.
Sometimes, people I dance with at a Milonga ask me for my advice or comment after the dance. I refuse to give it and tell them, that - during a Milonga - I am no teacher.
I do not even dance out of politeness. In case that I am too tired (after classes), or do not like the music, or do not want to dance with this particular person in this moment - I will refuse to dance. And I will not dance with someone to convince hm to take/organise classes with us.
So, if you meet teachers at Milongas who,
- teach during the Tanda,
- promote their classes to their dance partner actively,
- have to show off on the dance floor to impress future students/organisers,
just ignore them.
They will most likely not be very self-confident people or are desperate to fill empty classes. A teacher, who's got a good paedagogy and a professional approach to his job does not need that kind of invasive marketing.
Flyers, Inernet-Sites, Emails, Demos and not to forget word of mouth... that's already a lot of means to attract people attention. You do not have to crowd them at Milongas!
There are a couple of leaders who dance like this at some milongas I attend. I dread dancing behind them as they always seem so slow and the gap that opens up in front of them is very fustrating.
like sunday drivers :lol:
I absolutley agree with this, Melina
Can't remember what I was going to say now...
There's a lot of truth in that point. We want to get everywhere, immediately, and when we see that others are (we think) zooming ahead, we tend to worry that we're standing still. Well, I do...
Basically, keep working at it, keep thinking about it, keep practicing. That's the only thing to do. I'm sure you know all this stuff, and tell your own students that, but it doesn't hurt to hear it again.
Separate names with a comma.