Universal dance technique of tango.

Connection and communication

Speaking of universal dance technique, we

want to distance ourselves from any
subjective, therefore esoteric or aesthetic
assessment of dance. The richness of
tango is also reflected in various
aesthetics and even esoteric
interpretations and practices, and it
should not be understood that in this book we want to reject them or in any way challenge
or devalue them.

Technology is often equated with beauty and elegance, the wealth of the so-called adornos,
speed or some similar athletic attributes.
Our goal, on the other hand, is to consider dance in its fundamental meaning dimension as a
physical relationship between two bodies fused into one that moves interpreting the music
and adapting to the situation in the ronda. Also, it should be kept in mind that we consider
tango as a social dance, an amateur dance, aimed at pleasure but also at the creative,
artistic aspect. So, we are not considering a technique that requires strict, systematic work
on physical skills, but a technique in the sense that it meets the necessary prerequisites for
mutual enjoyment and creative interpretation of music, and these are two basic principles:
functional communication and pleasant communication.
Functionality of communication refers to the possibility to derive many options from a
particular situation and to choose the one that seems best at the moment. MULTIPLE
OPTIONS means that in any position, dancers have ideas about several possible, different
continuations of the dance movement with the desired dynamics. Multiple choice ideas are
about creativity and knowing dance vocabulary. For the realization of these ideas, the
technique, ability, training of the body to realize the chosen vocabulary at the moment of its
selection is necessary. For example, if we started to perform a sacada at the partner's
apertura with full weight transfer and partner rotation to the right, and the situation in the
ronda changes in an instant, and it becomes tight for that rotation, we convert the sacada
with rotation to the right into a sacada with rotation to the left. To be able to do this, we
must know that there are these two types of saccades (technique theory), and we must be
able to communicate that sacada adjustment at the desired moment (physical mastery of
the technique).
Comfort in communication, or pleasant communication, implies that functionality is
achieved and maintained with the use of the minimum necessary force, that is, the force of
the minimum necessary intensity and the application of force at biomechanically optimal
contact points. In this case too, it is necessary to theoretically know the technique of
communication (selection of optimal contact points in a certain position and selection of the
necessary force vector for the desired movement at a certain moment) and to physically
master the chosen technique. It should be noted that pleasant communication here does
not refer to any non-dance aspects, erotic, social, etc. They contribute to general pleasure in
dance, but here we consider only biomechanically relevant aspects. Extra-dance pleasures
can reduce biomechanical discomforts, or cancel them completely, so they are always
welcome, but increasing biomechanical comfort is the basis of good dancing, which we can
enjoy even without extra-dance pleasures.