Leaders. How was your Tango journey?

Don't try to memorise anything. Instead understand music as a language and you will remember songs automatically. The structure of most tango songs is similar to pop music with verses, chorus and regular phrases within these sections.

You don't really need to know what the orchestra is either, just listen to the first few seconds of the song and that tells you what general type and mood of music it is.
 
I have never cared to master the orchestras. I do know what kind of music inspires me to dance. I really don’t care which orchestra it belongs to.

You have an excellent attitude, which I wish the vast majority of dancers could have instead of their denigrating attitude towards music. I'd rather they actually care about the music and dance to only that which inspires them, not just dance to just about anything and fill in any lack of inspiration with steps and movement.
 
You have an excellent attitude, which I wish the vast majority of dancers could have instead of their denigrating attitude towards music. I'd rather they actually care about the music and dance to only that which inspires them, not just dance to just about anything and fill in any lack of inspiration with steps and movement.

The DJs are gonna have to play better music then.
 
Hello, just curious how was your journey as leaders in Tango? How long it took you?
It’s still taking me. I’ve been leading tango since 2017 with a break during the Pandemic. Really only getting serious about it post-pandemic; so a combined total of maybe 4 or 5 years.

  • So, I am in a big city with various Tango studios.
If you’re in a big city with lots of AT options then I would suggest checking out some of the others. Most people find that they become better faster (leading especially) by dancing with various people of different skill levels and backgrounds. Don’t feel like you have to exclusively learn from your current teacher. If you’re in a large enough AT community, then travelling instructors will come into town regularly. Make it your focus to attend their classes when they are in town.

  • I've been taking tango group lessons for 6 months. The issue is at practicas there are no beginners.
Many such cases post pandemic. There is a whole generation of beginners to early intermediates who do not exist due to pandmeic era shutdowns of dancing. This is not on you. As more experienced tango practitioners, teachers, and event hosts we are the members responsible for addressing this detriment. But you can bring it up to your fellow dancers. Not everyone is as consciously aware of the detriment even if they can point to areas where it is felt.

  • I take lessons in 2 studios and out of 30 beginners taking lessons, I am probably the only one who goes to practicas. Other beginner followers don't go to practicas for various reasons, (other commitments etc.)
I’d be curious what city you’re in or what major metro area you are near. Beginners should attend practicas to get more dance time in partnership. Those hours are what counts when it comes to improvement for social dancing.

  • At practicas, I only see followers at intermediate level who have been doing Tango for several years. Once they dance with me, and learn that I am the beginner, they don't want to do anything with me anymore. Some ignore, some greet but don't want to dance. I manage to get several tandas during practicas but it is hard to get dances. All followers want to dance with higher level leaders. In rare cases, I've seen some beginner followers who don't get dances as well. One of them complained to me that she paid for practica, did not get any dances, and decided to not attend practicas anymore as it was not worth the investment. Unfortunately, beginner followers at practicas (and probably just 1 or 2 in total) are not from my studios, so we may not do the same curriculum and even when I dance with them it is not easy as they may stumble, and you get judged by other sitting followers looking at how you dance, and who may decide not to dance with you.
This sounds like you are at a dreaded practilonga. A practice time that people are not keen to treat with the informality practice requires. Again this would be a good thing to bring up to the host of the practica. Speaking personally, one of the changes I make to practicas is to either have no tandas or clear one to two song tandas with cortinas in between. This emphasizes that you are either under lesser or no commitment when offering to dance with someone and the breakdown of the ‘formal rules of order’ as it were encourages people to enter a mindset better for practice I find. You can also search for other practicas in your area if there are multiple options.

  • I am fine with basic walk and steps but this is too boring for advanced followers. So, I started adding ochos, giros, paradas, throw in sacada. But it is not always that smooth, and I am kind of following the same patterns that I was taught in the class. Anyway, the journey is rough, I may run out of followers eventually lol.
What feels fun and engaging to followers is more about maintaining partnership with both them and the music rather than executing a complicated series of steps. There are some truly professional followers who may prefer complex patterns but that is not the case for >99% of people on the dance floor. That being said, maintaining connection to your partner while moving in partnership is not easy. It takes time to learn how to not leave each other behind in the dance. As your body gets more comfortable communicating within the AT embrace your mind is freer to focus on the music over just maintaining connection. If you’re practicing on your own, then you likely have some songs that you enjoy moving to. Try dancing to them with a ghost partner. Then try recreating that dream in real life to the same song. This is again something the host of a practica should be able to help with.

  • The instructor is moving me to intermediate class now. So, I may end up doing advanced classes eventually, and be good in the class, but I will probably suck at dances because there are no followers to practice unless I end up in the class with advanced followers eventually, and they would want to practice moves. Though, this all is kind of weird, people ignore you at practicas for a long time, and then suddenly become friends and dance with you. I would not want to really dance with people who ignored me for a long time. But I guess all of them are advanced and I don't have a choice lol.
Patriarchy man, what are you gonna do? No one views absolute beginner leads as having any value when they start. But you scale that cliff and suddenly everyone wants something from you. You don’t have to do any of it if it doesn’t feel right to you; and you may as well learn to say ‘no’ at least sometimes because that is the closest to a celebration anyone is going to throw for you. Often people will learn to dance in one environment with one set of people and then life circumstances take them away from there and they continue dancing with an entirely different set. This can alleviate some of the alienation you feel.

  • What else am I doing? Listening tango music while working, and dancing at home by myself practicing moves. Anyway, this is my rant. Just curious how other leader's journey.
My personal journey is that I probably first danced AT sometime in 2016. But prior to that I had danced Swing for about a year. Basically sucked at AT for a number of years but practiced it occasionally. Went to a couple milongas but was too intimidated to dance much. Through 2019 my focus was more on other styles of dancing such as fusion and micro-blues. Saw some actually competent sacadas being done at a fusion event (I think it was circa 2019 but cannot really recall) and that re-invigorated me for AT. But the pandemic comes and there’s basically no dancing at all for nearly three years. Sometime in 2023 I start dancing again and it’s almost exclusively AT now. I wish I had been around for the 2003 scene, but that’s simply not how life works. Now I have no trouble getting dances wherever I go, but that’s due to a mix of age and skill.
 
I’ve been told I have great musicality, actually it may be my most complimented trait from followers, however, every time I go to a musicality class or actually try to count the beats etc it goes pretty poorly.
Basically if I know the song I can just naturally be musical with it. If I don’t know the song (especially random pugliese ones, or random alternative tandas) I don’t have a feel for the music and my dance turns sorta flat.

That’s why I need to study musicality more in the future so that I’m actually conscious of all the structures going on in the music, it’s the equivalent of a natural athlete being good at a sport without practice, but to get to the next level they must spend time to learn the ins and outs and do all the solo drills etc.
 
That’s why I need to study musicality more in the future so that I’m actually conscious of all the structures going on in the music
Yes and no. I'm a very analytical thinker, so I did read up on the structure of tango songs, and did analyse a lot of songs I listened to. I'd say that did help.

However, what made by far the biggest difference was just listening to tango music all the time, without attempting to analyse it. After some (considerable!) time of that, the structures just embedded themselves in me.
 
Yes and no. I'm a very analytical thinker, so I did read up on the structure of tango songs, and did analyse a lot of songs I listened to. I'd say that did help.

However, what made by far the biggest difference was just listening to tango music all the time, without attempting to analyse it. After some (considerable!) time of that, the structures just embedded themselves in me.
Yeah I listen to tango music a bunch too, but it just reinforces that I become good with songs I know and not ones I don’t know.
 
Yeah I listen to tango music a bunch too, but it just reinforces that I become good with songs I know and not ones I don’t know.
Yes, but the more time you spend listening, the more your unconscious absorbs the patterns, so you'll get better at dancing songs you don't know too.
 
..I listen to tango music a bunch too, but it just reinforces that I become good with songs I know and not ones I don’t know.
You're wrong, you don't get better if you know the songs well. On the contrary, you get worse, more redundant, more unimaginative, more predictable, more automated. You no longer listen, you only remember then. Tango should always be volatile, vulnerable, always on the fly. If you don't succeed in an spontaneous interpretation, then there is more real tango in it than in a memorized performance by the masters.
 
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..I'm a very analytical thinker, so I did read up on the structure of tango songs, and did analyse a lot of songs I listened to. I'd say that did help.
(To each his own) But I must say that dancing and thinking are mutually exclusive. I analyse when I prepare a musicality workshop. I analyse when I practice a new piece with my bandoneon. I analyse when I put together a new tanda for my next DJ set. I analyze when I am asked to dance a short tango performance.
But I turn my head off when I'm on the dance floor socially.
 
Yes, but the more time you spend listening, the more your unconscious absorbs the patterns, so you'll get better at dancing songs you don't know too.
I think this applies to songs with somewhat similar structures which I agree, but like I said in my original post if it’s some random Pugliese (which can vary a lot from other pugliese songs) or some alternative music, it’s a lot more difficult.
You're wrong, you don't get better if you know the songs well. On the contrary, you get worse, more redundant, more unimaginative, more predictable, more automated. You no longer listen, you only remember then. Tango should always be volatile, vulnerable, always on the fly. If you don't succeed in an spontaneous interpretation, then there is more real tango in it than in a memorized performance by the masters.
Maybe if someone danced the same way to the same song each time I’d agree with you. I could argue knowing the song more and more gives you even more freedom for interpretation, for example if you know the next phrase contains a piano, bandeneon, violin, and a singer, and the phrase after only half those instruments — you could structure your dance around that while you’re dancing the current phrase.

It’s like if I’m talking to someone, I have a general idea of what I’m going to say, and will eventually get there with whatever words come out. I’m not going to individually think about each separate word as I talk. Same with tango, especially when you consider as a lead you do sorta need to think 2-3 moves ahead of your current one to get it to flow nicely + have correct positioning.
 
It’s like if I’m talking to someone, I have a general idea of what I’m going to say, and will eventually get there with whatever words come out. I’m not going to individually think about each separate word as I talk. Same with tango, especially when you consider as a lead you do sorta need to think 2-3 moves ahead of your current one to get it to flow nicely + have correct positioning.
Hmmm, this comes across as if you treat dancing like a monologue, talking TO someone as opposed to having a conversation with someone. What if the person you are talking WITH has an unexpected perspective that enriches the topic?

Sorting out 2-3 moves ahead of time also comes across as choreographed as opposed to truly improvised.

Just my 2¢

I’m sure you meant something different, though.

Also, I really don’t get why some people are afraid of Pugliese. It’s like his music is built up to be this scary thing in some people’s minds. He was THE master.
 

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