Walk Like a Child

2 01 2012

So Uncle Rich,” my adult nephew asked me over the holidays, “Have you learned how to walk?,

I’m still working on it,” I replied, “but I’m closer than before,

though I didn’t tell him at the time that the further I got into the book I was reading, the more questions I had  about walking.   That book is Born to Run by Christopher McDougall*, the book that was the basis of the New York Times Magazine article “The Once and Future Way to Run” that I referred to in my earlier blog post and had mentioned to my family a few days earlier.

So with this post, I have now finished reading the book that has provided some amazing insights about running (walking). tango and life.    But first, I’d like to try to clean up my last post a bit with some specifics about what it has meant for me and tango social dancing.

(1) Here’s what’s been most helpful for me:

  • Be quick, light and springy below the waist, while keeping the body quiet above the waist (leads and follows)
  • Land lightly on your forefeet (leads and follows)
  • Balance, elasticity, stability in mid-stance and cadence is important for every step. (leads and follows)
  • Keep your feet underneath you.  Step with you knee, not your feet.

(2)  It’s been difficult for me to change my posture, but some of the changes I’ve made have reaped dividends.   I spent way too many years flexing at bit at my waist (tilting forward from the waist) — because I thought that was the right thing to do.  And the harder I tried to fix my posture, the more aches and pains I got in my lower back and below.   Now, I’m starting to learning how wrong I was and what I need to do differently to fix posture, although I still have a long ways to go.  Most of the aches and pains in my lower back have disappeared (and I was able to ski again this winter) without any adverse effects.

Bad Posture

Illustration2: Showing bad posture bending or tilting forward from the waist; note the bend in the middle of the "red line ".

Good Posture      

Illustration1: Showing good posture, with the shoulder, hip and foot aligned, see the straight "yellow line".


Finally, it’s been helpful for me to get my head around the concept of “keeping my feet underneath me” and “tilting forward from the ankles” with the heel down and the feet flat on the floor. While these concepts can work independently, they can also work together as shown by Illustration 3.

Leaning Forward

Illustration 3: Tilting or leaning forward from the ankles with feet flat on the floor. The yellow lines show an example of good posture. The red line shows a wrong posture when the legs are perpendicular to the floor.


It’s been an interesting for me to discover how some of these diverse pieces seem to fit together. A number of people from different walks of life had to tell me essentially the same thing in their own way before I had my “Eureka moment.” But as all tango dancers eventually discover, a Eureka moment is just the beginning of a quest and not the end.  I’ll share more from the book later on, as they give me new insight into tango dancing.  As the book subtitle says, “A hidden tribe, superathletes, and the greatest race the world has never scene.”  That’s not unlike the path taken by most aspiring milongueros in their own personal quest.   The book is worth the read for anyone.  It is a fascinating read for those who would like to understand their dance.

*Thanks to Mike Adamle for encouraging me read the book!

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One Step Forward, Two Steps Back

9 11 2009

My ongoing growth and development of my Tango dancing seems to carry with it a certain rhythm – unlike other partner dances I’ve experienced. I’ve heard the expression “One Step Forward, Two Steps Back” for years, but I’m still trying to figure out what it means. After all, taken literally, it would mean you’re going backwards, instead of advancing in your Tango dance. And yet, like I’ve experienced over the last few years, I do continue to advance — although at times the key growth spurt comes when I seem to be moving in the wrong direction.

I felt the impact of a true growth perhaps most profoundly during the last few months. At the beginning of this period, my dance felt comfortable, in fact too comfortable. And when I really started to pay attention to how I was dancing, I realized that I had a lot that needed to be fixed. Luckily, my teacher from Buenos Aires was coming to town and I was looking forward to taking a few private lessons with her so she could help me fix what was wrong.

The list of things to correct wasn’t totally surprising, but it was profound. And as I spent the following few weeks working on those things, I felt was dance retrenching and getting worse at the same time. I was dancing fewer interesting steps, I was losing my musicality and I wasn’t feeling grounded any longer — all of which are needed for a good dance. And the harder I worked at it fixing the other stuff (e.g, core, axis, walking) — the worse my dance seemed to become. I had briefly felt this before for perhaps a few days to a week or so, but never for this long a time. Three of four weeks after my private lessons, nothing seemed to have improved. And while I was still dancing with most of my Tango partners, I temporarily lost a few along the way during this transition.

Out of frustration, I checked in with a few of my Tango mentors who’d been dancing Tango for a long time. They were reassuring, but I still felt like I was stuck on this downhill slide that I struggled to recover from. My teacher returned 3 weeks later – 3 weeks after my private lessons with her — and we dance together at a Saturday Milonga (tango social dance). It didn’t go that well, and after the dance, we both acknowledged that I actually didn’t dance with her as well then, as I had a few weeks earlier — even though my private lessons were supposed to help fix all of that. Yes, I was actually dancing worse. What to do?

I considered taking more private lessons with her, but decided that I was too off-center to take in any more input and needed to find myself on the dance floor. Fundamentally, I felt that I had the tools to fix what I needed to fix and get everything out of my head and internalized into my body, but I just couldn’t seem to make it happen. The following week, I danced with another tango teacher visiting from Buenos Aires and something special started to emerge. Although I continued to concentrate on the basic technique of my dance, I felt some of those magical moments start to return, things that had been missing for over a month.

I savored the moment, took a few more days off from tango dancing, and then visited a new milonga in the northwest suburbs where I danced with some old friends, as well as some new. I started to feel my dance re-emerge, not just where I had left it weeks ago – but I seemed to be dancing better than ever before. So perhaps this is what is meant by the expression “One step forward, two steps back” is literally that. It’s not a figurative concept about the need to regroup, but a more literal concept — where I literally had to go backwards in my dance before I could advance. And despite all of the insecurities I felt during that time, I had to trust the path I was on, even when it was uncomfortable — trusting that I would re-surface in a new spot dancing better than I had ever danced before. My experience last weekend with yet another group of dancers confirmed that for the moment, I was in a good spot and all of the stuff I had struggled earlier with seemed to come together and I was able to share my embrace and musicality in profound ways I hadn’t been able to do earlier.

While my recent growth and development felt a bit disconcerting at the moment, I realize how important and necessary it was for me to go through the process to get where I wanted to go — for now!

And yes, with Tango:

< To go backwards, is to move forward.

< When you think you have it, you lose it.

< Seek tango, and it will elude you.

< Dance tango with humility and respect, and it will embrace you.

< Be vulnerable, and feel it’s power.

~ …





Ah … to return to Buenos Aires soon!

21 10 2009



IMG_3627

Originally uploaded by RichardMiller





Tango is Fragile

15 10 2009

I continue to experience how fragile it is to dance Tango, particularly at this early stage of my tango journey (i.e. years 1-5).  For the last number of months, I feel like I’m cycling on and off with my dance or perhaps I should say forwards and backwards. When I have my ‘A’ game, every tanda with each ‘follow’ is wonderful – no matter how good the music actually is or how experienced my partner. I may be ‘on’ for as little as one tanda, one night, or if I’m lucky, for a week or two.

Then suddenly, it’s as if it’s over and the clock is rolled back to a time weeks, or even months earlier and lasts perhaps another a week or ten days. Some partners I recently had fabulous dances with as little as a few days earlier, may suddenly seem to me to be out of my league and I may not have the necessary confidence to even ask them to dance, yet alone re-create that oh so wonderful experience. And even with those I do dance with, the dance may seem to be mechanical or in our heads and we don’t come close to creating the magic we felt so recently.

And as I continue to work hard to improve my dance and continue to go through these cycles, I’ve concluded that growth and development of my dance requires humility and vulnerability. When you feel good about how well you’re dancing and think you know everything, you loose it all. Yet, when you may feel a bit uncomfortable with your dance, less confident and perhaps a bit fragile AND you approach each milonga and each partner with a good dose of humility and that humility carries you along and can result in perhaps a very good dance.  It provides an avenue for growth and may give you and your partner your best dance of the week.





Tango and Life

19 05 2009

I often find it difficult to explain to friends what Tango really means to me, although I did find the following useful:

“We enter this world alone.  We leave it pretty much the same way.   And in between, a dance we call life.
Problem is (that) it takes two to Tango.   So we look for signs; something to help us to find our perfect partners.  A smile, a wave.  But we have to to be careful; because while some signs can be misinterpreted, others can be missed completely …
Some dances you sit out.  Others you change partners.   The important thing is … (that) you never stop dancing.”

 (Chuck Fishman, Early Edition)





Why the name “Tango chose me”? Sally Potter and the movie, ‘The Tango Lesson’

7 05 2009

Each time I view Sally Potter’s movie, The Tango Lesson,  I gain new insights and understanding of the Tango dance, the partnership and the passions of Tango and of life expressed both on and off the floor, as well as the new discovery on how the partnership continuously works to create something special, together.

Near the end of the movie, Pablo Veron was asked by Sally Potter why he chose to dance Tango. Pablo replied, “Tango Chose Me” — hence the name of my  blog.   The journey is profound.  While each step along the way may seem uneventful, the composite has given me a new life that continues to provide me profound insights  — about myself, my relationships with others and life in general — that build on each other one day at a time.








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