In the car, there were some chat going on. When I mentioned about how we (as a leader) "diagnose" the partner, the topic appeared to catch some somewhat off-guard.
The followers might not be aware that many leaders are actively checking some points in the course of social dance.
With social consideration, I do not always explicitly disclose these checkpoints. But it may be helpful to some. So, there they are (well, some of the checkpoints).
Before dance:
Cabeceo: This is an Argentine custom for social dance. If she does it or not actually tells whether she knows the dance.
On the floor:
A little greeting/chat:
I don't mind doing it. Ice breaking is good. In addition to knowing her name or the city she came from, it can also tell how relaxed she is. It can be a part of your starting ritual.
Embrace:
Is she willing to embrace? If she does embrace, does she feel comfortable? Since follower's height varies, I need to adjust the embrace and the way I balance as well. This is a time to form a mental image on how we would look as a couple from a third person standpoint.
Listening to the music:
I usually take a few moment to listen to the song. Recognize the characters of the music, and decide how we would dance, as a lead.
Axis and gaze:
I usually keep her on one axis at first. If she is unstable, or wants to move by herself, I'd lower expectation. Good followers have a certain "prepared and ready" quietness as default. The quietness is showing that she has a good balance, good axis, know the rule that she does not "lead" by moving by herself, and perhaps, is listening to the music and gazing into her leader.
Communicate what I am listening:
Maybe with some light tapping or slow axis shift, I take the rhythm of the music. It never is a good idea to start dancing abruptly. Starting slowly works better most of the time. Whether she is catching on this or not is another checkpoint.
Do some basics with the music:
Walk. Back ocho. Front ocho. Giro. Is she following? Does she collect feet cleanly? Can you visualize (or imagine) how you and your partner look as a couple? This is not a time to rush, or testing out bunch of "interesting" or "new" patterns. Instead, assess how much time she needs to do her job (balancing, feet collection, pivoting, axis shift, styling, embellishment, etc). Good followers have faster response time. But if she needs time, we got to give her the time. There is a certain beauty in well-performed basics. And this is the time to build up connection between you and your partner in your dance.
Quiet frame, good posture:
Overactive frame is a no-no in Tango, even for a milonga song. Others can see if you are good (or not) by the shape of your body's frame, or silhouette. You'd want to look good and strong, rather than showing (or forcing your partner to show) unsightly look.
Embellishments:
Test some boleo (or provide some other embellishment opportunity). Support her on one axis at a good point in the song, and suggest her to do something. Is she willing?
Change input:
For example, take a bigger stride, when it makes sense with the music. Will she take a matching, bigger step, or would she collapse? If she is not following, adjust accordingly. Unless it is a practica, insisting on one point is not a good idea.
Find her strength and weakness:
In a while, you may know how much she can allow you to do (and vice versa). For example, she may be good at balancing on an axis and has a good foot styling, but may show some weakness in switching to taking a bigger step. In the case, her preference may be on small, subtle, and perhaps a giro-based rotational dance. Once you form a hypothesis, test it. And adjust your lead to make her look good. Emphasize strength, and less prying on weakness.
By the time you figure out that much, the Tanda may be (almost) over.
Acknowledge:
All Tanda and all partners are unique. Whatever the dance was, acknowledge it. But don't dwell on negatives. Focus on positives, and think how you can expand the positives next time. If the dance was enjoyable one, be sure to acknowledge the joy.
Positive comments:
Most of the time I enjoy the dance. I'd tell my enjoyment and thank the partner. Unless specifically requested, I wouldn't be leaving "constructive comments". Unsolicited "constructive comments" hardly are "constructive" anyway.
[If you are a follower, you can reverse the contents above. You can check on yourself if you embrace well, gazing to your partner, listening to the song, balanced, collect feet cleanly, pivoting clean and crisp, having quiet frame, nice posture....etc.etc. ]
If all these sound awfully technical, ....well, techniques do work in social dance to achieve a comfortable, good dance. Don't think otherwise. Besides, solid techniques are less likely to fail you in social dance compared with your feelings, emotions, and personal connections. Techniques are like enabling means, and feelings, emotions and personal connections are like driving force or the motive. You need both.
If a social Tango did not work out, it was both party's responsibility. You can take lessons from it and prepare for the next one for a better dance. There will be another Tanda, and there may be some thing you can do to fix. Repetition is a part of the game.
[Hmm,..what's wrong (or right) with your Tango?]
[Science] Last week we sent off the review manuscript as planned. Fingers crossed. This week we start working on a grant, whose deadline is mid Oct. Samples for collaboration project should be shipping this week, too.
