I. What to look for in a Tango teacher: Myths and Preconceptions
There are many factors involved in finding a good tango teacher. Let's start by analysing and dispelling the myths and preconceptions involved :
He/she is Argentinean…
Big deal! Despite the fact that Argentina (or, more correctly/specifically, Buenos Aires) is the birthplace of tango, it does not necessarily follow that being Argentinean makes a person a good teacher or, for that matter, dancer or performer. An analogy might be to say that all Italians are great singers, or all Japanese are great martial artists… etc. There are good and bad dancers etc in all societies, cultures and nationalities. Porteños (people native to Buenos Aires) are indeed immersed in the culture of tango… remembering that tango is not just a dance – in fact, tango music came before tango dance! However, although tango is – comparatively-speaking – greater in Buenos Aires than in any other world city, it is still – relatively-speaking – a minority in the city. Many Porteños do not like tango, just like many Scots do not like Scottish Country Dancing!
He/she has been dancing for ‘x' number of years…
Although a ‘teacher' may well be ‘time-served' and having practiced tango for many years, it certainly does not follow that this person is good teacher or, for that matter, dancer or performer. Similarly, a person may exaggerate the amount of years he/she has been dancing. It sounds nice to take lessons with someone who has been dancing – seemingly – many years but take it with a pinch of salt and anyway, as previously mentioned, it doesn't follow that the person can even put one foot in front of another!
He/she is a ‘lovely' dancer…
Being a lovely dancer does not make a good teacher… and vice-versa. Most world-class boxers are coached/instructed by people who have never been champions (or, in some case, ever been in the ring) themselves!
He/she has had classes from top/world-class tangueros…
Attending classes, or being in the vicinity of, top teachers/dancers/performers does not automatically imbue that ‘student' with great magical tango qualities. A person may attend, for example, a top tango festival and book in for so many classes with so many teachers and end up attending only a few of those booked! Just because that person has paid for those classes does not make that person a great dancer or teacher. Also, many people attend levels of classes higher than they are realistically capable of. What happens? Take your pick…
Level-Drop
- the class slows down and drags to a lower level than it was supposed to be;
Incompetence
- the person may not pick up or even adequately understand the mechanics nor, indeed, the principles of what is being taught.
What I'm saying is that that your prospective teacher may well have attended classes by top names but it does not necessarily mean they understood, or even managed, those classes. Also, attending one or two classes from a top teacher does not translate into having had personal instruction or attended intensive courses from those names…! Beware of ‘namedroppers'… those teachers listing screeds of names in their ‘would-be' CVs.
He/she has a history of dancing (also, to a lesser extent, sport) and/or teaching…
Having a considerable background in dance and the arts does indeed lend itself to giving that person the ‘edge' in many ways in that their experience in teaching and perhaps performing gives a greater insight into body movement, musicality, coordination, balance etc. This is perhaps, in my opinion, the best quality to look for in a teacher. However, it does necessitate that the teacher has also some or all of the afore-mentioned qualities… after all, a teacher may be a great teacher but he/she can't teach something without knowing the basics and mechanics of that – in this case, art – form.
II. System and Principles of Teaching
It is imperative that the teacher you settle with has a firm understanding and grasp of the basic fundamentals and mechanics that make authentic Tango.
Basics
The eight-step basic and eight-step crossed-basic are, in my opinion, fundamental necessities in developing a good grounding of what establishes good and correct technique from basic principles. This method is taught – even today – by most (if not all) of the top teachers in the world. It's how I was taught. If it's good enough for them, it's good enough for me!;
Warm-up
Make sure you choose a teacher who pays attention to the need for warming up at the beginning of classes. Warm-ups consist, for tango, of the gentle performance of exercises at the beginning of the class with the gradual increase of intensity and complexity as the introductory part of the session progresses. Some teachers may also add stretching exercises to the warm-up.
Exercises and Improvisation
Beware of teachers who constantly teach patterns without paying attention to exercises. It is the exercises that develop ability, technique and understanding. Patterns will develop in time through improvisational skills… look for the exercises.
III. Do I need a Partner?
Most students start tango without a partner. Generally, in classes, there is a regular change of partners anyway. This is beneficial in that :
Body-Types
the student gets to practice with different body-types and, therefore, individual styles. Thus, it inherently encourages adaptive ability and the beginnings of improvisational skills in the dance;
Integration
it encourages student integration within the class, thereby resulting – hopefully – in generally a friendly and ‘clique-less' atmosphere. Hmmm…
IV. Class Levels
~ Dani's Classes ~
At the moment, my classes are ‘drop-in' classes. Thus, all levels are encouraged in the same environment and at the same time. Of course, the class is structured so that different levels and abilities are segregated and ‘doing their own thing'. I have a background of 16 years of teaching karate, all levels and within the same class. Therefore, I have a great ability to easily handle large classes of differing abilities and levels. Towards the end of the class, I usually bring everyone together (all levels) for general dancing/practica. This benefits all levels in that the lower levels get to practice with higher ability students while those of a higher level have to adapt to suit whoever they're dancing with… be it beginner, improver or whatever. However, when classes get too big (perhaps over 30 students), it is undoubtedly necessary to start splitting the classes into levels.
For your reference, below is a general guide to levels should you be considering attending festivals and/or workshops.
Classic Tango - A Guide to Classic Tango Levels
Intermediate:
You can lead or follow the walking. Simple ochos (crosses) forward and backwards are in your repertoire.
IntermediateAdvanced:
Giros & barridas. Ocho cortado should be in your vocabulary by now.
Advanced:
Voleos & ganchos. Musicality and rhythm are a part of your dance.
AdvancedExtra:
Colgadas, volcadas, sacadas in all shapes are a piece of cake for you!
Masterclass:
You master all above and you are teaching this stuff!
Level |
Been tango dancing for |
|
|
Intermediate |
Up to 1 year |
Intermediate Advanced |
1 to 3 years |
Advanced |
Over 3 years |
Advanced Extra |
Over 5 years |
Masterclass |
You are teaching advanced students |
|
|
Nuevo Tango
In some instances, as part of a festival programme, 'Nuevo tango' classes may be advertised. This means that the lessons will be focused on this particular style. In the higher levels all the basics should be mastered. It is quite usual that time is not spent on explaining simple terminology or steps.
Any uncertainty with regard to your level (true of all tango styles) you should consult - in addition to your regular teacher - either the organizers or the contact person(s) for advice. After the festival starts, the chance to change level is limited. Usually, only if it is very clear that you been placed in the wrong group are changes permitted.
Level |
You have been dancing |
Intermediate |
Up to 1 year of tango |
Intermediate Advanced |
1 to 3 years of tango |
|
|
Advanced Classic |
Over 4 years of tango |
Advanced Nuevo |
Over 4 years of tango |
|
|
Advanced Extra Classic |
Over 6 years of tango |
Advanced Extra Nuevo |
Over 6 years of tango |
|
|
Masterclass Classic |
You are teaching advanced students |
Masterclass Nuevo |
You are teaching advanced students |
|
|
A Guide to Nuevo Tango Levels
V. What should I wear…?
Usually, when starting tango, students wear their everyday clothing – both shoes and apparel. Regardless, it is important to be aware of certain factors in ensuring facilitation of movement, comfort and style.
Clothing
Generally, loose and comfortable clothes such as [for women] medium to shorter length skirts with side or front slits will be most comfortable in facilitating movement and effecting adequate attention to correct technique. For both men and women, cotton or cotton-blend shirts and tops are ideal as they are able to absorb perspiration.
Shoes
It is generally considered that suede-soled shoes are best as these facilitate pivoting movements on the ball of the foot. Many plastic and, particularly, rubber-soled shoes restrict this pivoting action as the sole tends to grip the floor and could perhaps – if any twisting/pivoting movement is effected spontaneously – cause musculoskeletal injury. Similar injury can occur through repetitive strain.
Men's Shoes
Personally, I prefer a Cuban-heel (or, in Buenos Aires, it's referred to as a ‘French-heel'). This allows that little extra lean forward and thus facilitates the ‘impositioning' posture of the man's upper body so that the weight directs onto the front/ball-part of the foot.
Ladies Shoes
Similarly, a slightly higher heel (such as in dress/evening shoes, for example) is beneficial in encouraging forward positioning of bodyweight. However, certainly for classes, it is advisable not to have too high a heel (eg stiletti).
Dance-Trainers for Ladies and Gentlemen
Nowadays, there are a growing number of people wearing dance-trainers for classes. This is fine. I do, too. They are comfortable with a gap in the sole of the trainer to allow adequate flexibility while practicing. Those specifically designed for tango additionally have a slightly higher heel to encourage the weight's forward placing onto the front part/ball of the foot.
[However, please, PLEASE don't wear them in milongas like a numpty…! This is not a classy nor stylish thing to do].
It is important, after buying new tango shoes for milonga dancing to ‘break them in' prior to use. Wear them occasionally while at classes; it doesn't necessarily have to be for the whole session, just enough to soften them and get your feet used to the feel of the new shape.
An important thing to remember is that you are on your feet dancing often for hours at a time. No matter how absolutely gorgeous a shoe might look, don't sacrifice comfort and foot-care for the sake of the aesthetics. Discomfort leads to pain; pain leads to strain, strain leads to injury, injury leads to... no dancing.
