Advice for a leader learning to follow

[TTanguero]

I'm around three years into tango (who knows how you measure these things through lockdown times ...). I generally take 2-4 privates per month. Of these, perhaps half a dozen of them have been as a follower, just to help me better understand the lead.

I now feel that the next step for me is to have a proper go at learning to follow. Both because I still think it's a very powerful way to improve my lead, but also because my long-term ambition is to be a dual-role dancer.

My primary teacher thinks I have the sensitivity needed. He frequently leads me when he's working with me on something, and says I don't have any trouble following his (admittedly super-clear!) lead. My leading style is also very collaborative, so I'd say that my dance is already a mix of leading and following the follower.

Two things I feel are going to be challenging. First, physical flexibility. I think leaders can get away with less dissociation than followers (think of the respective amounts needed for ochos, for example), and I'm a 50-something British bloke who works at a desk. I can see a lot of solo technique work in my future!

Second, I suspect I'm going to find it very difficult to switch off my interpretation of the music. I think for collaborative dance it's easy because the follower is already tuned into my dance, so she does something which builds on that, rather than contradicts it. But to simply stand and wait to hear how someone else interprets it from the start is, I think, going to be tough!

All advice welcome! (Apart from 'Don't do it' ...)

 

[Rabbit]

Second, I suspect I'm going to find it very difficult to switch off my interpretation of the music.

I'd suggest talking to the most musical followers you know and asking how they do it?

 

[Brummbaer]

I don't have a problem with being a follower for practice, but just reminded that an elderly visiting maestro said to me once that: It's just not right at a milonga. He'd been asked (ignore how, that wasn't the issue) at a milonga for a tanda, and he turned it down. Fine with it for practice. But this isn't BsAs so the cultural codigos don't apply.

So, I guess the questions, which you've hinted at, are: What do you hope/intend to gain from it? And then???? How will others perceive that?

I've found it helpful, when it's been possible, as a lead, but I don't intend to take on that role longer term.

That's not ignoring followers who take a leader role where I think the role reversal can be just as helpful.

 

[TTanguero]

So, I guess the questions, which you've hinted at, are: What do you hope/intend to gain from it? And then???? How will others perceive that?

In the short-term, to improve my lead.

In the long-term, to be able to dance intercambio – where the partners swap roles within the course of a tanda (sometimes within a song). I see a growing number of dual-role dancers now, and it looks great fun! I already have a strong preference for collaborative dance, and this seems to me the next-level version.

> But this isn't BsAs so the cultural codigos don't apply.

Yeah, I wouldn't do it in the traditional BsAs milongas, but it's not at all unusual to see it in the more casual ones.

 

[ArbeeNYC]

But to simply stand and wait to hear how someone else interprets it from the start is, I think, going to be tough!

Simply wait for the lead and move accordingly only then. It's not that tough if the lead is clear enough. By the way, I've tried following a few times and am generally terrible at it because I need to really feel the lead (I also sometimes get dizzy going backwards in circles, vertigo is a problem). It worked when I followed a bigger man with a pretty forceful lead (he wasn't a great dancer but it didn't matter). It didn't work well at well trying to follow my private teacher, a woman, a very sensitive dancer, who had a gentle lead.

 

[LadyLeader]

The dissociation training will prepare you also for extra smooth enrosques in future! Here some tips in that direction. His advice to relax the muscles and later contract them helps to turn more!


The video below may be terrible for you but try to find something with same input! )

*A lot of easy repetitive movements
*There is a kind of U-stretch when the leg crosses back and the arm crosses front; in next step the same muscles are contracting. This continuous alteration has been valuable to grow elasticity and keep the movement ranges naturally good.


Her workouts have done wonders with my shoulder/back when I keep on training five days a week. To skip training for a whole week is not an option . . . .

 

[TTanguero]

Those are both great, thanks!

 

[Brummbaer]

In the long-term, to be able to dance intercambio – where the partners swap roles within the course of a tanda (sometimes within a song). I see a growing number of dual-role dancers now, and it looks great fun! I already have a strong preference for collaborative dance, and this seems to me the next-level version.

Seen intercambio a few times, but it's always been a 'performance', although it might not have been intended as that. Usually a couple of guys messing around at the start of a milonga, or during some cortina, and then the tanda starts, others see what's happening, step back, and it becomes a performance. Seemed to be a metropolitan thing given that the numbers were such that there were dancers there in the population to do that. The ones I've seen (noticed?) have been impressive. I guess it could be social dancing in the appropriate setting.

And of course there's videos of such performances on YT.

In the short-term, to improve my lead.

That was my main objective. As in other comments, it does illustrate the problems of following and recognising the lead. So it encouraged me to attempt to make the follower clearly aware of my intention with my lead and understand that I'm their problem.

 

[TTanguero]

Seen intercambio a few times, but it's always been a 'performance', although it might not have been intended as that.

I've seen it done socially in enough places where it doesn't attract so much attention – though it does get a lot of smiles.

 

[John Doe]

Plenty of dual-role dancers around here (East Coast North America) switching it up mid-song, especially on the festival circuit. As to your second concern, turning off your interpretation of the music is something all followers have to learn, it's just part of the process. You might even be advantaged in this regard because you already know how important it is, and have even made it a goal and are therefore sure to work on it.

My big piece of advice is to find a practice partner who is/wants to dance dual-role, because 1) working with a trusted partner makes it easier to relax and get into the playful zone where you feel that it's okay or even fun to make mistakes, 2) having a trusted partner makes it easier to give and receive feedback on what's working and what's not, and 3) troubleshooting is much easier when both parties have experience in the other's role (no 'black box' problem).

Regarding your first concern: In my experience, flexibility for dissociation is primarily a factor of muscle tension vs. relaxation, affected by posture and habits of movement. For example, anterior pelvic tilt leads to lumbar curvature which we often balance with mid/upper back tension, which inhibits ability to dissociate - so it turns out that monitoring pelvic alignment can be important for maintaining relaxation of the back. That's just an example. It's also common to tense back muscles when feeling unbalanced, and so one might train themselves to notice when they begin to feel unbalanced, and then to consciously focus on relaxing the back and to ground down 'through the foot' instead. Your primary teacher is the one who should be helping you develop your posture for dance, and also to identify problematic habits and then find ways to correct them during your dance. This is also just part of the process, and we should all learn to enjoy it, because I hear it never ends, ha.

Good luck! It's just as fun as it looks, and you may find yourself a dual-role dancer sooner, rather than long-term.

 

[TTanguero]

Thanks, John. Yes, I've worked a lot on posture, and balance as something you do rather than something you have, so I'm sure it will be a case of building on that work.

 

[John Doe]

Btw, I was in BA not long ago and there were plenty of intercambios - especially at the milongas where the highest level of dancing was...

 

[Tangogal]

First: following is not easy so take it easy on yourself. Second: most leaders are not good dancers so you will be frustrated when they hold you back /s

Like everything it’s practice, practice, practice. Most men who try following are very stiff so plenty of stretching and flexibility work. Yoga or Pilates type exercise may help.

During dance you are on one foot. This is more important as a follower as splitting your weight will slow your reactions. Your partner also needs the feedback to know which foot you are on.

Practice pivots both sides both directions. Practice in front of a mirror. Keep your hips in a line.

Musicality is something that you will be able to share with a receptive partner but for now just concentrate on following and stepping. Followers step on the beat. At home, you can turn on your music and do ocho drills each step and each pivot will be a beat.

 

[Tangogal]

At a milonga: ask leaders you are friendly with if they would lead you in a tanda. Do this verbally and before the milonga.

Assume most people are following the gender norms. Female followers and male leaders. If you see someone doing the non-conventional role then cabeceo them. For a dual role dancer: cabeceo, then before the tanda “would you lead me for this tanda/song etc” or “May I lead you” are acceptable verbal clarifications. If you wish to change roles during a dance you should choose someone you’ve practiced with before”.

I personally find it difficult to switch off my leading brain if I am dancing both roles in an evening so generally stick to my main role until late in the evening.

 

[TTanguero]

At a milonga: ask leaders you are friendly with if they would lead you in a tanda. Do this verbally and before the milonga.

I'm very fortunate in London, in that there's no shortage of dual-role dancers – in particular, experienced women followers learning to lead. A number of them have already led me in milongas in terms of just steps and rebounds. There's also Queer Tango London, where there are no gendered roles, so I'll have no shortage of opportunities to swap roles.

I personally find it difficult to switch off my leading brain if I am dancing both roles in an evening so generally stick to my main role until late in the evening.

That sounds like excellent advice, thanks!