A bad practice partner is better than no partner?

[opendoor]

I wonder if you consider cadenas as sequences of do they have a different status?

It depends on the teaching system or school. There is no coherent naming and nomenclature.

 

[WhiskeyPapa]

Hi WhiskeyPapa, here some photos from the GA. And I would be appreciated if you could contribute to the thread "Are there Tango movie clips from before 1935?" Thanks in advance!

View attachment 5802​

Fascinating photos… 1940 seems an open embrace year!

 

[WhiskeyPapa]

I disagree with this.

I was joking!

 

[tangoing]

For me it is the same. The point of my answer was simply to remind people that the current situation has grown. But anyone who dances on the spot today without paying attention to the rules of the respective milonga is either stupid and uneducated, or is driven by messianic zeal. If you want to dance on the spot at a milonga with 2-3 lanes: go to the center of the ronda. Something like that is absolutely ok.

For the past few years i’ve been practicing trying to dance on the spot. The issue for me isn’t advancing but dancing in very crowded milongas where you can only dance in the spot. I’ve basically learned you need to do lots of in place turns not only to see your surroundings but also signal to other leads if you get close they may get a heel so they need to respect your space.

 

[JournalInTime]

That's also about familiarity with the music and musicality. If all you've got is an 8CB and a walk with unfamiliar music, then it's just a guess where that might fit in, or where the phrase might end.

I agree wholeheartedly. I think that the real difference between two dancers' apparent "levels" is very often less on the plane of technique and more on that of familiarity with the music.

 

[JournalInTime]

1. I have zero memory for sequences, so never got caught up in anything longer than an ocho cortado
2. I had very good teachers, very early, who taught me fundamental technique, not steps
3. I was totally obsessed, so probably crammed 5 years of work into 2 years – daily solo exercises, weekly privates, multiple workshops per week, multiple milongas per week, listening to tango music non-stop, two visits to BsAs, etc

Same here, on all counts:

I have the worst sequence memory known to dancing humanity, and therefore avoided all dance instruction until I was informed by many sources I trusted that tango could be totally improvised. Early on, I stumbled upon excellent teachers who taught movement particles rather than steps, floorcraft as well as movement, and musicality that admitted things like rubato, continuous rather than marked movement, and stuff ranging from 1/16 counts to pausing for entire measures. And I lucked into being a bartender at a studio, with the result that I got to accompany every class of every level multiple times, free admission to pretty much every workshop and festival session, the friendship of several teachers who went on to become my private coaches, and even basic instruction in how to teach.

That mix of weaknesses and strengths is what made me the dancer I am today.

 

[JournalInTime]

Yes, I think our disagreement is indeed very slight: it's only whether there is any value in the pretence stage, and for me personally, that has zero value, and I'd find it counterproductive. For LadyLeader, it clearly does. So we're not even really disagreeing, just talking about what works for different people.

Each learning style needs different learning tools. I've repeatedly tested out as being an "inventor" mental type who is bad with concepts like routine, rules, and standards, and good with improvisation, so I rarely benefit from packaged sequences and walk-throughs, but get a great deal out of, "Okay, so here's an idea. Let 2 hours of unstructured play begin! I'll be watching from over here if you need me or the first-aid kit."

 

[TTanguero]

I have the worst sequence memory known to dancing humanity,

You can expect to hear from my lawyers.

 

[Mr. Moustachio]

Fascinating photos… 1940 seems an open embrace year!

In the picture from 1944, nobody is dancing.

 

[LadyLeader]

For LadyLeader, it clearly does. So we're not even really disagreeing, just talking about what works for different people.

Yes I think the same!

 

[LadyLeader]

a comment on the original question:

To be a social dancer means to me that I want to be able to have a nice dance with any nice, funny person at whatever tango level. Not only with dancers at the top levels!

I want to always be able to dance MY dance without a follower forcing me to do something else. If the music suggests an enrosque I want to be able to do one with a beginner and another variation with an advanced follower. In both cases it must be some fun, interesting for her and not disturbing her dance.

This means that for me it is valuable, interesting to train with a person at any level. Later on the other levels must be completed!