Hi everybody, Fran here with your Tango Tip of the Week. One of the questions students consistently ask me is "How can I make this Tango figure that we're currently learning in class end in the line of dance?" As they're putting this question to me, I'm always reminded of the fact that what they really want to know (without realizing it) is, "How do I incorporate the skill of Argentine Tango into the contemporary American/European 'ballroom' dance tradition with which I'm already familiar?"

I'm going to talk about the answer to this question in a moment. However, the implicit thinking behind the question itself opens an important door to several crucial distinctions between the Argentine way of dancing and the American/European way. Over the next several Tango Tips, I'm going to try to point out how Tango and the American/European traditions differ significantly from one another. I believe that this may help those of us who have grown up in -- or least been exposed to -- the American tradition can start to recognize that Tango is remarkably different from the way we dance, and the way we think about dance. This, in turn, may make it somewhat more possible for us to approach Tango not as an extension of our own tradition, but as a unique skill set with its own very special attributes, assumptions, and demands.

Let me start by enumerating the Ten Commandments of what I'm going to call contemporary American ballroom dance practice. I use the term contemporary here, because I want to clearly emphasize that this is by no means how Americans used to dance. It is what has evolved over time (I actually prefer the word mutated) -- as the once very robust, diverse, dancer-driven tradition we used to enjoy has now deteriorated into a mechanical, one-size-fits-all melange of rigidly prescribed, teacher-driven rules, regulations, and restrictions. (Yeah, I know. Tell us what you really think, Fran.)

Here is my list. If you conjure up others, let me know immediately.

1.     The bedrock foundation for each dance is the preliminary formation of an extremely uncomfortable (might one say comic?) structure called the "dance hold."

2.     There is no need to waste time, learning precise lead/follow mechanisms in order to attain acceptable proficiency in ballroom dancing.

3.     The process of learning how to dance consists of accumulating (memorizing) a progressive series of geometric structures, which are generally referred to as figures or steps.

4.     The learning of each dance form begins by memorizing, practicing, and perfecting what is called a basic step.

5.     Each dance form involves continuous movement.

6.     Each dance form requires that we assimilate a specific, unwavering timing for each figure we learn.

7.     Each figure within a given dance form must end in the line of dance.

8.     To create our own social iteration of a dance form, we employ the entrances-and-exits principle of amalgamation.

9.     To create a performance (the not-so-secret epitome of teacher-driven dancing), we employ the (ever-so-much-more-desirable) principle of choreography.

10.  As one of the characters in the often riotously funny 1992 Australian film, "Strictly Ballroom," pompously declares (as his cheap hairpiece becomes hopelessly dislodged): "There are NO NEW STEPS!"

This week, I'll address the "seventh commandment" above: Each figure within a given dance form must end in the line of dance. This takes us back to my students’ questions regarding the end of every step. In Tango, this idea is absolutely false. If, in the first place, you're basing your dance on the accumulation of figures or "steps" (utterly wrong), the number of individual figures, which need to end in the line of dance is ... wait for it ... ZERO!

Okay, okay, it is certainly true that we need to recognize, and generally respect, the on-going line of direction as we progress around a dance floor. However, as we develop our Tango skills, we quickly become aware that there are many creative ways to find ourselves back facing the line of dance -- even after a complex series of improvised (good) or memorized (not so good) figures, which have somehow left us facing another direction. The fixation on shoehorning every action we take on the dance floor into a line-of-dance conclusion is, therefore, completely irrelevant.

Next week, we'll begin to discuss the other nine commandments of contemporary ballroom dance. In the meantime, if you find yourself facing backward at the end of a figure, try executing a 180-degree left rocking turn to put yourself back on course. That's all it takes to achieve line-of-dance heaven.

A special workshop with Fran Chesleigh and Pat Altman, Sunday, October 23, 2016, 12:30 -- 3:30 p.m., Pearl Studios, 500 8th Avenue (between 35th and 36th Streets), 12th Floor, Room 1201, all levels welcome

The complex interplay between the legs of skilled dancers is a signature characteristic of fine Tango. In this fast-paced, information-packed 3-hour intensive workshop you will master skills, which will add new flair and authenticity to your dance:

·      Enhance even the simplest movements with entrada

·      Create the surprise of sacada

·      Define the moment with the gancho

·      Seduce with the toca

·      Caress with the elusive enganche

·      Create a personal statement with adorno

With Fran and Pat’s Show them your tango legs you can transform your social Tango into the polished, seriously authentic dance you’ve been working so hard to achieve.

Don’t wait ‘til the last minute!

Register online: $35 per person at franchesleigh.com by Saturday, October 22, $40 per person at the door on Sunday, October 23, Checks and cash also accepted, no refunds, no exchanges.

The following folks helped set up, break down and clean up before and after the milonga. Without them, there would be no Firehouse Tango.

• ​​​Stephen Maisch - Rye Bread
  
• Kathy Dignam - Pita Chips
  
• George Ngo - Cheese, grape figs
  
• Diane Manchino - Cookies
  
• Francis & Marie - Dessert
  
• Elena Syrett - Ice Cream 
  

• ​​​​​​Barbara Lombardi
  
• Bill Auer
  
• Chris Russo
  
• Genni & Ray
  
• George Ngo
  
• Carl Schaefer
  
• Bill Krukovsky
  
• Richard Abrahamsen
  
• Walter Milani
  
• Jesse Barton
  
• Marta Bautis
  
• Bob Brillo
  
• Francis & Marie
  
• Elena Syrett
  
• Eduardo Campos