THIS DOCTOR SAYS HE KNOWS HOW THE BRAIN CREATES CONSCIOUSNESS. NEW EVIDENCE SUGGESTS HE'S ON TO SOMETHING
BY DARREN ORF DEC 18, 2024
For nearly his entire life, Dr. Stuart Hameroff has been fascinated with the bedeviling question of consciousness. But instead of studying neurology or another field commonly associated with the inner workings of the brain, it was Hameroff's familiarity with anesthetics, a family of drugs that famously induces the opposite of consciousness, that fueled his curiosity.
"I thought about neurology, psychology, and neurosurgery, but none of those . . . seemed to be dealing with the problem of consciousness," says Hameroff, a now-retired professor of anesthesiology from the University of Arizona. Hameroff recalls a particularly eye-opening moment when he first arrived at the university and met the chairman of the anesthesia department. "He says 'hey, if you want to understand consciousness, figure out how anesthesia works because we don't have a clue.'"
Hameroff's work in anesthesia showed that unconsciousness occurred due to some effect on microtubules and wondered if perhaps these structures somehow played a role in forming consciousness. So instead of using the neuron, or the brain's nerve cells, as the "base unit" of consciousness, Hameroff's ideas delved deeper and looked at the billions of individual tubulins inside microtubules themselves. He quickly became obsessed.
Found in a cell's cytoskeleton—the structure that helps a cell keep its shape and undergo mitosis—microtubules are made up of tubulin proteins and can be found in cells throughout the body. Hameroff describes the overall shape of microtubules as a "hollow ear of corn" where the kernels represent the alpha- and beta-tubulin proteins. Hameroff first found out about these structures in medical school in the 1970s, learning how microtubules duplicate chromosomes during cell division. If the spindles of the microtubules don't pull this dance off perfectly (a process known as missegregation), you get cancerous cells or other forms of maldevelopment.
While Hameroff knew that anesthetics impacted these structures, he couldn't explain how microtubules might produce consciousness. "How would all that information processing explain consciousness? How could it explain envy, greed, pain, love, joy, emotion, the color green," Hameroff says. "I had no idea."
That is, until he had a chance encounter with an influential book by Nobel Prize laureate Sir Roger Penrose, Ph.D.
Within the pages of 1989's The Emperor's New Mind, Penrose argued that consciousness is actually quantum in nature—not computational as many theories of the mind had so far put forth. However, the famous physicist didn't have any biological mechanism for the possible collapse of the quantum wave function—when a multi-state quantum superposition collapses to a definitive classical state—that induces conscious experiences.
"Damn straight, Roger. It's freaking microtubules," Hameroff remembers saying. Soon after, Hameroff struck up a partnership with Penrose, and together they set off to create one of the most fascinating—and controversial—ideas in the field of consciousness study. This idea became known as Orchestrated Objective Reduction theory, or Orch OR, and it states that microtubules in neurons cause the quantum wave function to collapse, a process known as objective reduction, which gives rise to consciousness.
Hameroff readily admits that since its inception in the mid-90s, it's became a popular pastime in the field to bash his idea. But in recent years, a growing body of research has reported some evidence of quantum processes being possible in the brain. And while this in itself isn't confirmation of the Orch OR theory Hameroff and Penrose came up with, it's leading some scientists to reconsider the possibility that consciousness could be quantum in nature. Not only would this be a huge breakthrough in the understanding of human consciousness, it would mean that purely algorithmic—or computer-based—artificial intelligence could never truly be conscious.
● ● ●
In 1989, Roger Penrose was already a superstar in the world of mathematics and physics. By this time, he was already years removed from his groundbreaking work describing black hole formations (which eventually earned him the Nobel Prize in Physics in 2020), as well as his discovery of mathematical tilings, known as Penrose tilings, that are crucial to the study of quasicrystals—structures that are ordered but not periodic. With the publication of The Emperor's New Mind, Penrose dove headfirst into the theoretical realm of human consciousness.
In the book, Penrose leveraged Kurt Gödel's incompleteness theorem, which (in very simplified terms) argued that because the human mind can exceed existing systems to make new discoveries, then consciousness must be non-algorithmic. Instead, Penrose argues that human consciousness is fundamentally quantum in nature, and in The Emperor's New Mind, he lays out his case over hundreds of pages, detailing how the collapse of the wave function creates a moment of consciousness. However, similar to Hameroff's dilemma, Penrose admits in the closing pages that profound pieces of this quantum consciousness puzzle were still unknown:
When Hammeroff first read the book in 1991, he believed he knew what Penrose was missing.
Hameroff dashed off a letter that included some of his research and offered to visit Penrose at Oxford during one of his conferences in England. Penrose agreed, and the two soon began probing the non-algorithmic problem of human consciousness. While the duo developed their quantum consciousness theory, Hameroff also brought together minds from across disciplines—including philosophy, neuroscience, cognitive science, math, and physics—to explore ideas surrounding consciousness in the form of a biannual Science of Consciousness Conference.
And from its very inception, the conference broke new ground. In 1994, philosopher David Chalmers described how neuroscience was well-suited for figuring out how the brain controlled physical processes, but the "hard problem" was figuring out why humans (and all other living things) had subjective experiences.
Roughly two years after Chalmers gave this famous talk in a hospital auditorium in Tucson, Penrose and Hameroff revealed their own possible answer to this famous hard problem.
It wasn't well-received.
● ● ●
Penrose and Hameroff revealed their Orchestrated Objective Reduction theory in the April 1996 issue of Mathematics and Computers in Simulation. It detailed how microtubules orchestrate consciousness from "objective reduction," which describes (with complicated physics) Penrose's thoughts on quantum gravity interaction and how the collapse of the wave function produces consciousness.
The idea has since faced nearly 30 years of criticism.
Famous theoretical physicist Stephen Hawking once wrote that Penrose fell for a kind of Holmsian fallacy, stating that "his argument seemed to be that consciousness is a mystery and quantum gravity is another mystery so they must be related." Another main criticism is that the brain's warm and noisy environment is ill-suited for the existence of any kind of quantum interaction. Read any scientific literature about quantum computers, and lab conditions are always extra pristine and approaching-absolute-zero cold (−273.15 degrees Celsius).
"You know how long I've been hearing the brain is warm and noisy?" Hameroff says, dismissing the criticism of the brain as too warm and wet for quantum processes to flourish.
"I think our theory is sound from the physics, biology, and anesthesia standpoint."
In a 2022 interview with New Scientist, Penrose admitted that the original Orch OR theory was "rough around the edges," but maintains all these decades later that consciousness lies beyond computation and perhaps even beyond our current understanding of quantum mechanics. "People used to say it is completely crazy," Penrose told New Scientist, "but I think people take it seriously now."
A lot of that slow acceptance comes from a steady tide of research showing that biological systems contain evidence of quantum interactions. Since the publication of Orch OR, scientists have found evidence of quantum mechanics at work during photosynthesis, for example, and just this year, a study from researchers at Howard University detailed quantum effects involving microtubules. This research doesn't prove Orch OR directly; that'd be like discovering water on an exoplanet and declaring it's home to intelligent life—not an impossibility, but very far from a certainty. The findings at least have some critics reconsidering the role quantum mechanics plays, if not in consciousness, then at least the inner workings of the brain more broadly.
However, the rise of quantum biology in the past few decades also coincided with the explosion of AI and large language models (LLMs), which has brought new urgency to the question of consciousness—both human and artificial. Hameroff believes that an influx of money for consciousness research involving AI has only biased the field further into the "consciousness is a computation" camp.
"People have thrown in the towel on the 'hard problem' in my view and sold out to AI," Hameroff says. "These LLMs . . . haven't reached their limit yet but that doesn't mean they'll be conscious."
● ● ●
As the years—and eventually decades—passed, Hameroff relentlessly defended Orch OR in scientific papers, at consciousness conferences, and perhaps most energetically on his X (formerly Twitter) feed, where he regularly participates in microtubule-related debates. But when asked if he likes the arguments, he answers pretty bluntly.
"Apparently I do because I keep doing it," Hameroff says. "I've always been the contrarian but it's not on purpose—I just follow my nose."
And that scientific sense has led Hameroff to explore potentially profound implications when you consider that consciousness doesn't necessarily rely on the brain or even neurons. Earlier this year, Hameroff, along with colleagues at the University of Arizona and Japan's National Institute for Materials Science, co-authored an non-peer-reviewed article asking the question of whether consciousness could possibly predate life itself.
"It never made sense to me that life started and evolved for millions of years without genes—why would organisms develop cognitive machinery? What's their motivation?" Hameroff says, admitting that theory traipses beyond the typical confines of science. "It's kind of spiritual—my spiritual friends like this alot."
Hameroff admits that some of his ideas are "out there," and even stops himself short when describing some ideas involving UFOs, saying "I'm already out on enough limbs." While most of his ideas may have taken up residence in the fringes of mainstream science, it's a place where he seems comfortable—at least for now. "I don't think everybody's going to agree . . . but I think [Orch OR] is going to be considered seriously," Hameroff says.
Hameroff retired from his decades-long career as an anesthesiologist at the University of Arizona, and now he has even more time to dedicate to his lifelong fascination.
"I had a great career, and now I have another great career," he says. "Plus I don't have to get up so damn early."
Thursday, December 19, 2024
Tuesday, December 3, 2024
Tiny houses, vs. big houses, rambling stream of consciousness
https://www.facebook.com/1207733829/posts/pfbid0hpP6a4jEa38SPPHQotZJuF19uprnw6MASZqSi9zt7nSdXyHL9QXWTgNYw6MFJ4Scl/?d=n
A comment I left for a young lady in the Tiny House People group asking for help on a paper... In eight (double spaced?) pages you'll barely be able to touch the top ice cube on the tip of the iceberg on the evolution/revolution of the unfolding tiny house movement/culture.
Everything everyone else has said obviously, and what comes to mind for me are the shared values based on the disenchantment and disenfranchisement of both people and social constructs/systems brought about by mass suburbanization, globalization, gentrification, materialism/ization, over-population, economic inequality, more-is-not-enough-ism, affluenza and the generally vacuous/meaningless/superficial American life/lifestyle/culture.
We are all looking for not just minimalist, low impact, low carbon footprint, economies of scale/frugal lifestyles, but a more meaningful, intentional way of life on this planet and in this country. One not bounded by nor constrained by nor inhibited by being trapped by the cheap-oil-dependent "American Dream" - the 3/2/2 with a white picket fence and a 30 year conventional mortgage and everything that goes along with it - materially, functionally, and dysfunctionally. One with more creativity, more vision, more creation, more art/music/dance/storytelling, more neighborly cooperation, more being nice, more functional relationships and growth, more love. Less TV. Less BS.
As far as how the tiny house movement relates to "construction culture -
basically — how construction impacts folks with the same values", that seems to be a somewhat nebulous/abstract concept. Obviously, in this brief exchange, we're not able to better/completely understand the premise/thesis of your paper - and perhaps it's still evolving. I'm guessing your professor gave you something fairly specific as a guideline.
I built very big, very expensive houses in Aspen, Colorado for a number of years before the downturn. Basically nothing under $5,000,000, and nothing under 5,000 sqft. My clients, all no doubt 1%'ers or 5 or 10%'ers, all probably share the same values, generally. Money, and lots of it, being No. 1 most likely. I'm sure some were Left and some were Right. I'm sure some were Christians, I know of a few who were Muslim, with some Atheists thrown in. All would have had some appreciation for art - investing large sums of money to hang large art on their large walls. All would have had an appreciation for nature and the outdoors - being in the mountains of Colorado surrounded by National Forest and Wilderness areas. But I wonder how many, if even one, ever gave any consideration to the environmental impacts their mega-big mega-energy hog gargantuan-carbon-footprint houses were going to have on the planet? Sure, a few did solar thermal heating of their hot tubs, a few did solar panels, more paid a premium for "green" electricity (solar or wind) purchased from Holy Cross Energy. But that's about the extent of it. Oh, and the Town of Snowmass Village limiting house size to 5,000sf. Still way too big, especially since these are second or third or fourth or fifth or sixth houses.
I'm not sure where I thought I was going with that, if only to shine some light on the other end of the spectrum from Tiny. How did "construction" impact them? Collectively, as a group, with "shared values"? Construction culture? Honestly, and I'm not intending to sound mean, because I'm very intrigued by your premise/paper - but I don't really know how to define that nor venture a guess on how they - my clients and the architects and designers and all of the tradesmen and craftsmen and suppliers and truck drivers and on and on were impacted by those projects.
Even down to the hillbilly in Arkansas who sold mossy stones off of his land to be applied as stone veneer on a monumental/monolithic $50,000 fireplace. And his wife. And his kids. For money to eat and have heat in the winter. What about all the folks in China and Vietnam and Pakistan and India and other countries? The ones manufacturing and crafting and quarrying and sawing so many of the materials and products that go into all of our houses here in the U.S.? It's a huge part of the world economy and millions upon millions of people are dependent on it for their very existence. There's your construction culture impacting people with shared values. Just dial it back to Tiny now.
Anyway, I hope my ramblings might have helped you in some way. Maybe a concept/premise/conclusion or two might gel and be useful for your paper.
I'll post some links in reply to my comment...a few other things that have bubbled up in my primordial soup. Best of luck to you! Maybe come back and share your paper with us?
Sent from my iPad
A comment I left for a young lady in the Tiny House People group asking for help on a paper... In eight (double spaced?) pages you'll barely be able to touch the top ice cube on the tip of the iceberg on the evolution/revolution of the unfolding tiny house movement/culture.
Everything everyone else has said obviously, and what comes to mind for me are the shared values based on the disenchantment and disenfranchisement of both people and social constructs/systems brought about by mass suburbanization, globalization, gentrification, materialism/ization, over-population, economic inequality, more-is-not-enough-ism, affluenza and the generally vacuous/meaningless/superficial American life/lifestyle/culture.
We are all looking for not just minimalist, low impact, low carbon footprint, economies of scale/frugal lifestyles, but a more meaningful, intentional way of life on this planet and in this country. One not bounded by nor constrained by nor inhibited by being trapped by the cheap-oil-dependent "American Dream" - the 3/2/2 with a white picket fence and a 30 year conventional mortgage and everything that goes along with it - materially, functionally, and dysfunctionally. One with more creativity, more vision, more creation, more art/music/dance/storytelling, more neighborly cooperation, more being nice, more functional relationships and growth, more love. Less TV. Less BS.
As far as how the tiny house movement relates to "construction culture -
basically — how construction impacts folks with the same values", that seems to be a somewhat nebulous/abstract concept. Obviously, in this brief exchange, we're not able to better/completely understand the premise/thesis of your paper - and perhaps it's still evolving. I'm guessing your professor gave you something fairly specific as a guideline.
I built very big, very expensive houses in Aspen, Colorado for a number of years before the downturn. Basically nothing under $5,000,000, and nothing under 5,000 sqft. My clients, all no doubt 1%'ers or 5 or 10%'ers, all probably share the same values, generally. Money, and lots of it, being No. 1 most likely. I'm sure some were Left and some were Right. I'm sure some were Christians, I know of a few who were Muslim, with some Atheists thrown in. All would have had some appreciation for art - investing large sums of money to hang large art on their large walls. All would have had an appreciation for nature and the outdoors - being in the mountains of Colorado surrounded by National Forest and Wilderness areas. But I wonder how many, if even one, ever gave any consideration to the environmental impacts their mega-big mega-energy hog gargantuan-carbon-footprint houses were going to have on the planet? Sure, a few did solar thermal heating of their hot tubs, a few did solar panels, more paid a premium for "green" electricity (solar or wind) purchased from Holy Cross Energy. But that's about the extent of it. Oh, and the Town of Snowmass Village limiting house size to 5,000sf. Still way too big, especially since these are second or third or fourth or fifth or sixth houses.
I'm not sure where I thought I was going with that, if only to shine some light on the other end of the spectrum from Tiny. How did "construction" impact them? Collectively, as a group, with "shared values"? Construction culture? Honestly, and I'm not intending to sound mean, because I'm very intrigued by your premise/paper - but I don't really know how to define that nor venture a guess on how they - my clients and the architects and designers and all of the tradesmen and craftsmen and suppliers and truck drivers and on and on were impacted by those projects.
Even down to the hillbilly in Arkansas who sold mossy stones off of his land to be applied as stone veneer on a monumental/monolithic $50,000 fireplace. And his wife. And his kids. For money to eat and have heat in the winter. What about all the folks in China and Vietnam and Pakistan and India and other countries? The ones manufacturing and crafting and quarrying and sawing so many of the materials and products that go into all of our houses here in the U.S.? It's a huge part of the world economy and millions upon millions of people are dependent on it for their very existence. There's your construction culture impacting people with shared values. Just dial it back to Tiny now.
Anyway, I hope my ramblings might have helped you in some way. Maybe a concept/premise/conclusion or two might gel and be useful for your paper.
I'll post some links in reply to my comment...a few other things that have bubbled up in my primordial soup. Best of luck to you! Maybe come back and share your paper with us?
Sent from my iPad
Saturday, November 30, 2024
Monday, November 11, 2024
Sunday, November 10, 2024
Friday, October 25, 2024
Tuesday, October 8, 2024
Gustavo Naveira Apology Statement
Following an incident (perpetrated against his wife, Giselle Anne) while performing at the Gavito Tango Festival at the Biltmore Hotel in Los Angeles on Saturday, October 5, 2024. (Issued in the wee hours of Tuesday, October 8, 2024.)
From Gustavo Naveira: "First of all, I want to apologize a million times to Giselle Anne for my behavior last Saturday at the Gavito Tango Festival in Los Angeles. Giselle, my partner in life and in dance for almost thirty years, mother of two of my children, the best tango teacher and the best tango dancer I have ever danced with, has had to endure behavior on my part that was absolutely reprehensible and lacking in all professionalism. Giselle, an extraordinary woman, a reference of Argentine Tango, who has been part of the greatest shows in the history of tango, received mistreatment from me, of which I feel deeply ashamed, which I should never have carried out, and for which I apologize, knowing that simply there are no excuses. At a certain point I began to rebuke Giselle in front of everyone present in an uncontrolled way, I know it was embarrassing, and I also know that there will be no more opportunity for reparation. Giselle, of course, knew how to cope with the situation with calm and natural grace, once again demonstrating her high level of professionalism. Gis I ask you for forgiveness again, I didn't know how to live up to your artistic presence.
I also want to apologize to the group of professionals who made up the team of teachers of the event. All of them, in the days before and on that same Saturday before us, gave impeccable displays of talent, ability and mettle, all conditions that I lacked that night so I could not join that team. I want to apologize to them for creating a moment of unpleasant tension and tarnishing a night that should have been brilliant, especially for the expectations they had placed on us.
I also apologize to the audience present that night who had to endure a sad and painful spectacle on my part, which caused, at least at that moment, confusion and uneasiness among the people, since they did not understand what was happening.
Very especially I want to also address the organizers of this event, Dennis and Tanya, excellent people who work very hard for the achievement of this excellently well organized Festival that is undoubtedly among the best in the world, a thousand apologies to them for having caused this very negative disturbance.
I also accept the countless criticisms I have received on social networks and I fully assume my responsibility for the fact. My nerves failed, I didn't know how to control myself, and despite many years of experience, I behaved like a rookie exposing my inability and weakness of character. My frustration didn't allow me to see that this was the woman I loved and admired the most in my life.... A thousand apologies to everyone for this.
Throughout my years (decades) as a tango teacher I have always taught about the need for communication between the members of the dance couple to achieve quality in the dance. That teaching tells the truth, but I did not know how to put into practice as a dancer what I teach as a teacher. That is why I want to apologize to all my students, both those present and those who reacted to the video, for having soiled that undeniable truth of the theory, with a number of reactions that had nothing to do with the quality of the dance, and that led me to an intolerable behavior towards my partner.
I know that my schedule has now changed abruptly, and maybe it will change forever, I accept it, it is a great sadness but I accept it, it is absolutely my responsibility. And it hurts me very deeply that Giselle's future as a dancer is affected because of me, which in no way deserves it.
Finally, I want to apologize to my family, especially to my children, two of whom are professional tango dancers, and have had to see their father's bad behavior on social media. Someone on the networks referred negatively to "Los" Naveira. I want to express that the only Naveira who behaved badly was me, my children are excellent people, excellent dancers who have nothing to do with this fact. As I said before, I accept all criticism, but that "los" (plural) is superfluous."
Again, I apologize.
Gustavo Naveira
________________________________________
Quiero en primerísimo lugar pedirle un millón de disculpas a Giselle Anne, por mi comportamiento del sábado pasado en el Gavito Tango Festival, en Los Ángeles. Giselle, mi compañera en la vida y en el baile por casi treinta años, madre de dos de mis hijos, la mejor maestra de tango y la mejor bailarina de tango con la que yo haya bailado jamás, ha tenido que soportar un comportamiento de mi parte absolutamente reprochable y falto de toda profesionalidad. Giselle, una mujer extraordinaria, referente del Tango Argentino, que ha sido parte de los más grandes espectáculos de la historia del tango, recibió un maltrato de mi parte, del que me siento profundamente avergonzado, que jamás debí haber llevado a cabo, y por el que pido disculpas, sabiendo que sencillamente no tiene excusas. Giselle y yo, en el tango hemos creado juntos cosas que yo firmemente creo sean muy valiosas. Pero en un momento determinado de la exhibición comencé a increpar a Giselle frente a todos los presentes de manera descontrolada, haciendo añicos justamente todo ello que somos en el tango. Sé que fue bochornoso, y también sé que ya no habrá oportunidad de reparación. Giselle, por supuesto, supo sobrellevar la situación con calma y gracia natural, demostrando una vez más su alto nivel de profesionalismo. Gis te pido perdón nuevamente, no supe estar a tu altura.
También quiero pedirle disculpas al grupo de profesionales que conformaban el equipo de maestros del evento. Todos ellos, en los días anteriores y en ese mismo sábado antes que nosotros, dieron impecables muestra de talento, capacidad y temple, todas condiciones que me faltaron esa noche por lo que no pude unirme a ese equipo. Quiero disculparme con ellos por haber creado un momento de tensión desagradable y empañar una noche que debió haber sido brillante, especialmente por las expectativas que habían puesto en nosotros.
Le pido disculpas también al público presente de esa noche que tuvo que soportar de mi parte un espectáculo triste y penoso, que provocó al menos en ese momento, confusión y desazón entre la gente, ya que no se entendía lo que sucedía.
Muy especialmente quiero dirigirme también a los organizadores de este evento, Dennis y Tanya, excelentísimas personas que trabajan durísimo para la consecución de este Festival excelentemente bien organizado que se encuentra sin dudas entre los mejores del mundo, mil disculpas a ellos por haber ocasionado este disturbio tan negativo.
También acepto la innumerable cantidad de críticas que he recibido en las redes sociales y asumo totalmente mi responsabilidad en el hecho. Mis nervios fallaron, no supe controlarme, y a pesar de los muchos años de experiencia, me comporté como un novato dejando a la vista mi incapacidad y mi debilidad de carácter. Mi frustración no me permitió ver que se trataba de la mujer que más amé y admiré en mi vida…. Mil disculpas a todos por ello.
A lo largo de mis años (décadas) de maestro del tango he enseñado siempre, sobre la necesidad de comunicación entre los integrantes de la pareja de baile para alcanzar la calidad en el baile. Esa enseñanza dice la verdad, pero yo no supe llevar a la práctica como bailarín lo que enseño como maestro. Por eso quiero pedirles disculpas a todos mis alumnos, tanto a los presentes como a los que reaccionaron frente al video, por haber ensuciado esa verdad incontrastable de la teoría, con una cantidad de reacciones que nada tenían que ver con la calidad en el baile, y que me llevaron a un comportamiento intolerable hacia mi compañera.
Sé que mi agenda ahora ha cambiado abruptamente, y quizá cambie para siempre, lo acepto, es una gran tristeza, pero lo acepto, es absolutamente mi responsabilidad. Y me duele muy profundamente que por mi culpa se vea afectado el futuro de Giselle como bailarina, que de ninguna manera lo merece.
Por último, quiero pedirle disculpas a mi familia, especialmente a mis hijos, dos de los cuales son bailarines profesionales del tango, y han tenido que ver en las redes el mal comportamiento de su padre. Alguien en las redes se refirió negativamente a "Los" Naveira. Quiero expresar que el único Naveira que se comportó mal fui yo, mis hijos son excelentísimas personas, bailarines excelsos que nada tienen que ver con este hecho. Como dije antes, acepto todas las críticas, pero ese "los" está de más.
Nuevamente me disculpo.
Gustavo Naveira
Sent from my iPad
Monday, October 7, 2024
Gentlemen’s Guide To Tango
From Katerina Dmitrieva on Facebook:
Gentlemen's guide for Tango.*
Disclaimer: Like everything in life this can be used for good and evil/manipulation.
It is based on my own experiences and talks I had. I had bad experiences but still I hope and believe Tango is a beautiful dance to let us be in the present moment TOGETHER. With your partner and as a whole. For our shared love of Tango. ❤️
These are ideas from a followers perspective, do what you want with them. I love same sex dancers but the following is about male lead and female follower perspective.
Tango is part of my life, my ritual, I work for it. And with certain things only a Tango person will understand you.
Consent is always key, in dance can be both; verbal & non-verbal.
****
So here are examples of things I found pleasant and unpleasant - tastes may vary.
A bit of humour when things go wrong. You never know of tired feet in heels, floor dynamics (needing energy to balance out the slippery ones or needing to push more when they are sticky/dry) or even comfort of follower.
For instance first tandas scare me and you can tell 😆🫣
Offer the arm or hand to guide to dancefloor. If she doesn't want accept instantly.
Breath together. At start, in between, at the end. Never too much! And please without loud sounds...
Breathe to indicate movement can be nice. Not everyone likes bellybreath, it's a tool.
So you have your fan, it is so nice when you use it for the two of you in small break between songs.
Compliments. (Definitely from both sides!) Like the connection/quality of energy/dress/perfume/earrings/details
…
Just for the sake of it, to make the other feel good, to relax, not necessarily for flirting.
Leaving space to express & be playful, waiting. Tango is no monologue.
Personally when I don't know you and we dance for the first time I don't apprechiate many ganchos. Especially the super aggressive ones (knees are joints that can get hurt) or when it gets messy...
No need to show off/having this much strong contact. *Leader's thigh in follower's crotch is not acceptable!* Better give the lady room to express and choose the level of closeness she wants for upper body and lower extremities.
Embrace can have different qualities, but never a rigid cage.
If the lady wants, hold her at the end of tanda. Never a cage-like hold (especially when she already gives subtle signs of wanting out, let it be)! Maybe the woman needs space to collect herself. Me for instance need time to breath, cool down, fix dress/hair. I know it can break a connection. That right afterwards can be established again.
If follower says floor is slippery/she says she is tired please adapt a bit.
I love it to be offered the arm to walk back. More for bigger venues/marathon setting.
Talk to each other more. Before or after tandas or in between songs. A way to connect also through words.
Don't take perceived rejection personal.
Tango can be cruel. Go to where they accept you, never on purpose put you down and in best case celebrate you. 🥳 Find your crowd.
People will talk s* about you anyway. It is a mirror for themselves. Some people are two-faced and act selfish. You know your worth.
Last one: Gentlemen be gentlemen towards each other. No need to show dominance or neglect by invading the others space in the ronda.
To see a man waiting to be allowed in the ronda & the other accepting, I always find it so pleasent. Apologizing with signals for little accidents (immediate or if not possible after the tanda) and laughing about it, I find it so attractive.
-> Have decent behaviour. To summarize ☺️
-------
Here are the unpleasant things, some examples:
Crossing lines like touching breasts or butt is no option. Obviously. But also a VERY low hand that reaches lower back/beginning of butt.
Listen to non-verbal signs... Follower is getting heavy to make you wait, getting lighter or more in cranial direction to indicate needing more lightness. If she does not do a move, adapt to it and not keep repeating because she did not 'understand'. Maybe she didn't want to (like mentioned in case with ganchos).
It's not forbidden of course but if she speaks up verbally indicating she is/her feet are tired please adapt. Maybe during the dance she finds back her energy but don't rush into super energetic/strong lead. (Different followers need different leads, happens that men lead super strong because their less experienced followers need it, also personal preferences. But never ever push so joints get in danger of being hurt 🫣)
Please do never talk about how close is your hotel room. Just don't.
Never ever correct verbally in milonga. We all know that.
Big kisses directly on the cheek can be too much (while greeting or after tanda) and not received well when they are forced.
I would avoid to check the cleavage and then compliment the necklace. Appears creepy.
Avoid 'compliments' like 'You look good enough to bite into' or directly ask: 'Where can I bite you?'. It's giving creep also.
Don't create drama or avoid a person only because your ego was hurt. We can oftentimes still say Hi, also without necessary hugging.
Final notes:
We as women take ourselves dancing & love to dance with you. So we all can work towards a pleasant experience for everyone.
Would love to hear your opinions & would love also the leaders' perspective. Public in the comments or pm.
It can be dangerous to give people the benefit of a doubt, if you felt uncomfortable please talk to a Tango friend or organizer and if you want to the person. Ask them if they want to understand & give a chance for repair.
I heard that f.e. instance in France is a strong feminist movement so that men feel scared to even do things like offer the arm to walk back to avoid crossing boundaries. I support this movement AND at the same time would love to have a careful way to treat each other without 'fear of each other'.
Sometimes it is so subtle and hard to put in words the feeling when a men is crossing the line but addressing the issue can help.
I had cases where men did not behave like gentlemen, I made the offer to explain and in the end it was out of the world/better.
I believe we all make mistakes and we can learn from them. Sometimes you are truly not aware of these things. And sometimes you are and decide to behave that way anyway. There are men that love women. There are men who hate women.
Take care 🎀
*Because a real man is gentle and knows how to lead.
He knows what he wants & has self-control. 😉😘
Sent from my iPhone
Gentlemen's guide for Tango.*
Disclaimer: Like everything in life this can be used for good and evil/manipulation.
It is based on my own experiences and talks I had. I had bad experiences but still I hope and believe Tango is a beautiful dance to let us be in the present moment TOGETHER. With your partner and as a whole. For our shared love of Tango. ❤️
These are ideas from a followers perspective, do what you want with them. I love same sex dancers but the following is about male lead and female follower perspective.
Tango is part of my life, my ritual, I work for it. And with certain things only a Tango person will understand you.
Consent is always key, in dance can be both; verbal & non-verbal.
****
So here are examples of things I found pleasant and unpleasant - tastes may vary.
A bit of humour when things go wrong. You never know of tired feet in heels, floor dynamics (needing energy to balance out the slippery ones or needing to push more when they are sticky/dry) or even comfort of follower.
For instance first tandas scare me and you can tell 😆🫣
Offer the arm or hand to guide to dancefloor. If she doesn't want accept instantly.
Breath together. At start, in between, at the end. Never too much! And please without loud sounds...
Breathe to indicate movement can be nice. Not everyone likes bellybreath, it's a tool.
So you have your fan, it is so nice when you use it for the two of you in small break between songs.
Compliments. (Definitely from both sides!) Like the connection/quality of energy/dress/perfume/earrings/details
…
Just for the sake of it, to make the other feel good, to relax, not necessarily for flirting.
Leaving space to express & be playful, waiting. Tango is no monologue.
Personally when I don't know you and we dance for the first time I don't apprechiate many ganchos. Especially the super aggressive ones (knees are joints that can get hurt) or when it gets messy...
No need to show off/having this much strong contact. *Leader's thigh in follower's crotch is not acceptable!* Better give the lady room to express and choose the level of closeness she wants for upper body and lower extremities.
Embrace can have different qualities, but never a rigid cage.
If the lady wants, hold her at the end of tanda. Never a cage-like hold (especially when she already gives subtle signs of wanting out, let it be)! Maybe the woman needs space to collect herself. Me for instance need time to breath, cool down, fix dress/hair. I know it can break a connection. That right afterwards can be established again.
If follower says floor is slippery/she says she is tired please adapt a bit.
I love it to be offered the arm to walk back. More for bigger venues/marathon setting.
Talk to each other more. Before or after tandas or in between songs. A way to connect also through words.
Don't take perceived rejection personal.
Tango can be cruel. Go to where they accept you, never on purpose put you down and in best case celebrate you. 🥳 Find your crowd.
People will talk s* about you anyway. It is a mirror for themselves. Some people are two-faced and act selfish. You know your worth.
Last one: Gentlemen be gentlemen towards each other. No need to show dominance or neglect by invading the others space in the ronda.
To see a man waiting to be allowed in the ronda & the other accepting, I always find it so pleasent. Apologizing with signals for little accidents (immediate or if not possible after the tanda) and laughing about it, I find it so attractive.
-> Have decent behaviour. To summarize ☺️
-------
Here are the unpleasant things, some examples:
Crossing lines like touching breasts or butt is no option. Obviously. But also a VERY low hand that reaches lower back/beginning of butt.
Listen to non-verbal signs... Follower is getting heavy to make you wait, getting lighter or more in cranial direction to indicate needing more lightness. If she does not do a move, adapt to it and not keep repeating because she did not 'understand'. Maybe she didn't want to (like mentioned in case with ganchos).
It's not forbidden of course but if she speaks up verbally indicating she is/her feet are tired please adapt. Maybe during the dance she finds back her energy but don't rush into super energetic/strong lead. (Different followers need different leads, happens that men lead super strong because their less experienced followers need it, also personal preferences. But never ever push so joints get in danger of being hurt 🫣)
Please do never talk about how close is your hotel room. Just don't.
Never ever correct verbally in milonga. We all know that.
Big kisses directly on the cheek can be too much (while greeting or after tanda) and not received well when they are forced.
I would avoid to check the cleavage and then compliment the necklace. Appears creepy.
Avoid 'compliments' like 'You look good enough to bite into' or directly ask: 'Where can I bite you?'. It's giving creep also.
Don't create drama or avoid a person only because your ego was hurt. We can oftentimes still say Hi, also without necessary hugging.
Final notes:
We as women take ourselves dancing & love to dance with you. So we all can work towards a pleasant experience for everyone.
Would love to hear your opinions & would love also the leaders' perspective. Public in the comments or pm.
It can be dangerous to give people the benefit of a doubt, if you felt uncomfortable please talk to a Tango friend or organizer and if you want to the person. Ask them if they want to understand & give a chance for repair.
I heard that f.e. instance in France is a strong feminist movement so that men feel scared to even do things like offer the arm to walk back to avoid crossing boundaries. I support this movement AND at the same time would love to have a careful way to treat each other without 'fear of each other'.
Sometimes it is so subtle and hard to put in words the feeling when a men is crossing the line but addressing the issue can help.
I had cases where men did not behave like gentlemen, I made the offer to explain and in the end it was out of the world/better.
I believe we all make mistakes and we can learn from them. Sometimes you are truly not aware of these things. And sometimes you are and decide to behave that way anyway. There are men that love women. There are men who hate women.
Take care 🎀
*Because a real man is gentle and knows how to lead.
He knows what he wants & has self-control. 😉😘
Sent from my iPhone
Monday, September 23, 2024
Saturday, September 21, 2024
Thursday, September 12, 2024
On the merging of the margins of two energetic souls
Yeah, he gets it. One note about connection, which he slightly hints at, but doesn't really come out and say it. He talks about physical connection, mental connection, and the connection to the other dancers. He hints at it when he says 'the emotions start to appear'. Then there is the metaphysical connection. The 'wtf was that!?' aspect of a particular dance with a particular partner, in a particular place, at a particular time. Not only does it not happen all the time, nor does it happen frequently. It's elusive, in my experience. I remain convinced that this feeling, which in the ideal is a mutual feeling, will never ever happen in open embrace. Some call it the tango trance. Others, the tangasm. It's sublime when it crosses your path. I fear many may not know of its existence, and sadly, may never experience it. Not that it is something anyone can 'do', or make happen through sheer force of will. Or actively manifest. The conditions have the be right. The stars have to align. In that spot. In that moment. Then, The Universe will gift it to you. Or not. I've always felt like it's the merging of the margins of two energetic souls. If you believe in that stuff. If not, then it's 'just a dance'.
 | |
Sent from my iPad
Friday, August 30, 2024
Sunday, August 25, 2024
“To dance is to graze the infinite…”
#tangoquotes
"When we dance, our soul discovers its truest liberty, not in measured steps, but in the quiet, rhythmic pulses of being. In creation's embrace, we escape the bounds of the earthly , touching something ethereal , beyond the reach of words. To dance is to graze the infinite, to feel, if only fleetingly, the spirit's vast expanse." ~ Mark Hernandez
Sent from my iPad
"When we dance, our soul discovers its truest liberty, not in measured steps, but in the quiet, rhythmic pulses of being. In creation's embrace, we escape the bounds of the earthly , touching something ethereal , beyond the reach of words. To dance is to graze the infinite, to feel, if only fleetingly, the spirit's vast expanse." ~ Mark Hernandez
Sent from my iPad
Saturday, August 24, 2024
Friday, August 23, 2024
Thursday, August 22, 2024
Man is a microcosm of the universe
https://www.facebook.com/1207733829/posts/pfbid0234fkzC8v9D1vJ9fhw5VGRUYRacKopwiDBL5cPQvou4A5eRx6kmH8XuGHdjmnGBg3l/?
"Man is a microcosm of the universe." ~ Leonardo da Vinci
Within each of us lies an energetic blueprint, a force that shapes our being from the very first cell to the person we are today. This blueprint isn't something external to seek out; it's an intrinsic presence that guides our existence, re-engaging us every moment, with every breath.
Our essence resides in the spaces between and it resides in the unseen forces that weave together our thoughts, actions, and realities. This field of energy, which science is only beginning to understand, holds the patterns that define who we are and who we're becoming. It's a force that actively participates in our journey, shaping our choices, our health, and our connections to others.
Imagine living with the awareness that you are constantly being remade, not by random chance, but by a design that has been with you since the beginning. What changes when we stop searching externally and instead turn inward, to reconnect with the force that has always guided us?
Acknowledging this inner map can transform how we live and can bring us into a deeper alignment with our true selves and with the world around us. In this alignment, we have the opportunity to find balance, purpose, and the ability to navigate life with clarity.
A heartfelt thank you to @jayshetty for the opportunity to explore these profound truths together and for creating a space where such meaningful conversations can unfold.
If you missed this interview, you can watch it now— follow the link in my bio.
__
#JayShetty #ZachBushMD #EnergeticBlueprint #InnerWisdom #SelfDiscovery #Mindfulness #PersonalGrowth #InnerAlignment #SpiritualJourney #ConsciousLiving #SelfAwareness #HolisticHealth #InnerHealing #SoulJourney
Sent from my iPad
"Man is a microcosm of the universe." ~ Leonardo da Vinci
Within each of us lies an energetic blueprint, a force that shapes our being from the very first cell to the person we are today. This blueprint isn't something external to seek out; it's an intrinsic presence that guides our existence, re-engaging us every moment, with every breath.
Our essence resides in the spaces between and it resides in the unseen forces that weave together our thoughts, actions, and realities. This field of energy, which science is only beginning to understand, holds the patterns that define who we are and who we're becoming. It's a force that actively participates in our journey, shaping our choices, our health, and our connections to others.
Imagine living with the awareness that you are constantly being remade, not by random chance, but by a design that has been with you since the beginning. What changes when we stop searching externally and instead turn inward, to reconnect with the force that has always guided us?
Acknowledging this inner map can transform how we live and can bring us into a deeper alignment with our true selves and with the world around us. In this alignment, we have the opportunity to find balance, purpose, and the ability to navigate life with clarity.
A heartfelt thank you to @jayshetty for the opportunity to explore these profound truths together and for creating a space where such meaningful conversations can unfold.
If you missed this interview, you can watch it now— follow the link in my bio.
__
#JayShetty #ZachBushMD #EnergeticBlueprint #InnerWisdom #SelfDiscovery #Mindfulness #PersonalGrowth #InnerAlignment #SpiritualJourney #ConsciousLiving #SelfAwareness #HolisticHealth #InnerHealing #SoulJourney
Sent from my iPad
Tuesday, August 20, 2024
Friday, August 16, 2024
Veronica Kruta: Lead & Follow Roles in Tango
Although we have evolved beyond a "machista" view of the roles of lead and follow in tango, the fact remains that lead and follow are intrinsically different roles. So a certain kind of complementary polarity needs to be present in order for the dance to be felt as harmonious from both sides of the embrace.
.
*Disclaimer: For simplicity sake I will use "he" and "she" to describe lead and follow but obviously we know those roles can be taken by any gender.
.
I personally prefer to view the roles of lead and follow as choreographer and dancer.
.
The leader needs to believe himself to be the choreographer, designer, or composer of HER dance. NOT his. That's not to say he does not dance, or that she cannot have influence over the composition, but he is not the primary dancer, and she is not the primary choreographer.
.
Now, because we are talking about improvised "choreography," the way in which it is transmitted from choreographer to dancer is through a shared body language, spontaneous impulse, and a constant stream of unconscious feedback from both parties.
.
Lead and follow intersect at the point where the follower's natural movement, responsiveness and personal expression inspire and enable the leader to compose more creatively, and the leader's design for her dance, and effective communication there of, free the follower from the burden of wondering, so that she can let go and truly dance.
.
When this relationship dynamic is embodied by the couple in a cyclical and simultaneous manner the result is the sensation of co-creation at its highest level.
.
The problem is that we often think of the lead as preceding the follow, but forget that THE IDEA of the movement he would like to produce in her body needs to precede his lead. When that lead is interpreted and expressed by the follower, the leader can additionally choose an accompanying movement. If this order is respected, rather than grasping to be the primary dancer himself, the leader might delight in seeing and feeling his ideas executed and enhanced by the follower's body, as though she were an extension of his body and mind.
.
To compose at this level, the leader must possess a deep understanding of the structure of her steps first and foremost, and consider his accompanying movement as secondary. Dynamics and musical ideas can of course be layered on top of this.
.
This "follower-centric" view of lead and follow is inherent even in the language that we use for the steps. For example "La cruzada" (the cross), the most basic step in tango, describes the followers' steps of that sequence, and not that of the couple, nor his. In fact, he has many ways to accompany her to the cross, which although fun and interesting, are essentially irrelevant to her dance.
.
The follower, on the other hand, should take pride in enabling the leader to compose, through her sensitivity, articulation, presence, control of her movement, and willingness to give herself fully to the dance. She must also possess a deep understanding of the structure of her steps so that her energy is not wasted on wondering where to go or expecting the leader to "make her" dance. He has enough on his plate already.
.
When she sees HERSELF as the dancer, with her own motor, she might take joy in the responsibility of that. She may suggest her own compositional ideas and share through her body language what she likes and how she feels the music, but always in a tactful way that comes from a deep knowledge of the dance and which inspires rather than imposes upon or confuses the leader.
.
In the same way, the leader must be careful that his choreographic ideas are a proposal and not a means of brutally controlling how he thinks the follower should move. He needs to trust and give freedom to the follower to move and express herself within his design for her. If he lets himself feel HOW she moves naturally, he might begin to ask himself how he can use that to enhance his composition to highlight her strengths.
.
The success of the partnership depends on each role understanding how to fully embody their own so that they may elevate the other. "Success" being defined as a dance that is felt as harmonious and connected by both roles.
.
There are many ways to arrive at this deeper understanding. Studying both roles is perhaps the most obvious one, but at the very least, a shift in mindset and a willingness to look beyond a superficial understanding of lead and follow is essential.
.
Unfortunately, many classes are taught as leader-centric or situational, presenting a figure to be memorized as opposed to an overall concept that enables improvisation and true lead and follow. This leaves both followers and leaders with the false belief that knowing the structure of the followers' steps is secondary to that of the leaders.
.
One outcome is that the leader learns to make some movement but essentially has very little idea of what it will produce in hers. She is confused at best, and stunted at worst, and he is surprised and unable to utilize her response to create. Another outcome is that she performs her part as though it were a traditional premeditated choreography and this in turn makes him feel that he has indeed led her, but when he tries it with a different dancer who was not present in that class, the response is completely different and he doesn't understand why or else blames the new follower.
.
However, I am not here to judge teaching style nor the students' interpretation of the topic, as there are many benefits to why classes are formatted in such ways. My intention is only to shift the mentality of the student so that no matter what class you take, you are able to walk away with a profound understanding of tango and experience connection and flow at its highest level.
.
By the way, the concept of both leader and follower understanding the structure of the follower's steps first and foremost is not some radical, anti-machista idea. Historically, in times that were far more machista than now, men learned to dance with men by studying first the followers role and only once they were relatively competent in that did they take on the leader's role. This outdated way of learning tango seems to have been adopted in our modern times mostly by women, as there is an increasingly popular trend of women learning to lead.
.
I often hear dancers say things like, "you're not leading me!" or "you're not doing what I lead." Although these statements are valid I believe they come from a superficial understanding of what it is to lead and follow.
.
When a leader is just moving and is not proposing anything to her, he may feel that his movement is a lead, but she will feel secondary and thus uncertain about her own movement. When the follower is not dancing and instead just waiting, she may feel that she is available for his ideas but he will feel that he cannot transmit those ideas to her. Both perpetuate, disempower and reduce each other forever continuing the battle of the roles.
.
Although I paint a grim picture, I do think that most dancers try to make it work regardless. We are after all both dancing tango in the pursuit of feeling harmony and connection. So when our partner does not fulfill their role at this idealistic level, we look for ways to compensate. In the absence of a true lead a follower might do her best to dance perhaps over-actively. When the follower is reserved, the leader might do his best to animate her movement. It may not be ideal but at least there is some resemblance of harmony and at the very least cooperation from both sides.
.
I hope that if you find yourself in situations where there is disharmony between you and your partner or you want to take your dancing beyond "cooperation," this deeper look at the roles of lead and follow raises different kinds of questions and solutions.
.
If you have any questions or thoughts about this topic leave a comment below, and if you enjoyed this article, please feel free to share it!
.
https://www.verokruta.com/post/leader-follower-roles-in-tango
.
Photo by Johanna Jezernicki Ph
Sent from my iPad
.
*Disclaimer: For simplicity sake I will use "he" and "she" to describe lead and follow but obviously we know those roles can be taken by any gender.
.
I personally prefer to view the roles of lead and follow as choreographer and dancer.
.
The leader needs to believe himself to be the choreographer, designer, or composer of HER dance. NOT his. That's not to say he does not dance, or that she cannot have influence over the composition, but he is not the primary dancer, and she is not the primary choreographer.
.
Now, because we are talking about improvised "choreography," the way in which it is transmitted from choreographer to dancer is through a shared body language, spontaneous impulse, and a constant stream of unconscious feedback from both parties.
.
Lead and follow intersect at the point where the follower's natural movement, responsiveness and personal expression inspire and enable the leader to compose more creatively, and the leader's design for her dance, and effective communication there of, free the follower from the burden of wondering, so that she can let go and truly dance.
.
When this relationship dynamic is embodied by the couple in a cyclical and simultaneous manner the result is the sensation of co-creation at its highest level.
.
The problem is that we often think of the lead as preceding the follow, but forget that THE IDEA of the movement he would like to produce in her body needs to precede his lead. When that lead is interpreted and expressed by the follower, the leader can additionally choose an accompanying movement. If this order is respected, rather than grasping to be the primary dancer himself, the leader might delight in seeing and feeling his ideas executed and enhanced by the follower's body, as though she were an extension of his body and mind.
.
To compose at this level, the leader must possess a deep understanding of the structure of her steps first and foremost, and consider his accompanying movement as secondary. Dynamics and musical ideas can of course be layered on top of this.
.
This "follower-centric" view of lead and follow is inherent even in the language that we use for the steps. For example "La cruzada" (the cross), the most basic step in tango, describes the followers' steps of that sequence, and not that of the couple, nor his. In fact, he has many ways to accompany her to the cross, which although fun and interesting, are essentially irrelevant to her dance.
.
The follower, on the other hand, should take pride in enabling the leader to compose, through her sensitivity, articulation, presence, control of her movement, and willingness to give herself fully to the dance. She must also possess a deep understanding of the structure of her steps so that her energy is not wasted on wondering where to go or expecting the leader to "make her" dance. He has enough on his plate already.
.
When she sees HERSELF as the dancer, with her own motor, she might take joy in the responsibility of that. She may suggest her own compositional ideas and share through her body language what she likes and how she feels the music, but always in a tactful way that comes from a deep knowledge of the dance and which inspires rather than imposes upon or confuses the leader.
.
In the same way, the leader must be careful that his choreographic ideas are a proposal and not a means of brutally controlling how he thinks the follower should move. He needs to trust and give freedom to the follower to move and express herself within his design for her. If he lets himself feel HOW she moves naturally, he might begin to ask himself how he can use that to enhance his composition to highlight her strengths.
.
The success of the partnership depends on each role understanding how to fully embody their own so that they may elevate the other. "Success" being defined as a dance that is felt as harmonious and connected by both roles.
.
There are many ways to arrive at this deeper understanding. Studying both roles is perhaps the most obvious one, but at the very least, a shift in mindset and a willingness to look beyond a superficial understanding of lead and follow is essential.
.
Unfortunately, many classes are taught as leader-centric or situational, presenting a figure to be memorized as opposed to an overall concept that enables improvisation and true lead and follow. This leaves both followers and leaders with the false belief that knowing the structure of the followers' steps is secondary to that of the leaders.
.
One outcome is that the leader learns to make some movement but essentially has very little idea of what it will produce in hers. She is confused at best, and stunted at worst, and he is surprised and unable to utilize her response to create. Another outcome is that she performs her part as though it were a traditional premeditated choreography and this in turn makes him feel that he has indeed led her, but when he tries it with a different dancer who was not present in that class, the response is completely different and he doesn't understand why or else blames the new follower.
.
However, I am not here to judge teaching style nor the students' interpretation of the topic, as there are many benefits to why classes are formatted in such ways. My intention is only to shift the mentality of the student so that no matter what class you take, you are able to walk away with a profound understanding of tango and experience connection and flow at its highest level.
.
By the way, the concept of both leader and follower understanding the structure of the follower's steps first and foremost is not some radical, anti-machista idea. Historically, in times that were far more machista than now, men learned to dance with men by studying first the followers role and only once they were relatively competent in that did they take on the leader's role. This outdated way of learning tango seems to have been adopted in our modern times mostly by women, as there is an increasingly popular trend of women learning to lead.
.
I often hear dancers say things like, "you're not leading me!" or "you're not doing what I lead." Although these statements are valid I believe they come from a superficial understanding of what it is to lead and follow.
.
When a leader is just moving and is not proposing anything to her, he may feel that his movement is a lead, but she will feel secondary and thus uncertain about her own movement. When the follower is not dancing and instead just waiting, she may feel that she is available for his ideas but he will feel that he cannot transmit those ideas to her. Both perpetuate, disempower and reduce each other forever continuing the battle of the roles.
.
Although I paint a grim picture, I do think that most dancers try to make it work regardless. We are after all both dancing tango in the pursuit of feeling harmony and connection. So when our partner does not fulfill their role at this idealistic level, we look for ways to compensate. In the absence of a true lead a follower might do her best to dance perhaps over-actively. When the follower is reserved, the leader might do his best to animate her movement. It may not be ideal but at least there is some resemblance of harmony and at the very least cooperation from both sides.
.
I hope that if you find yourself in situations where there is disharmony between you and your partner or you want to take your dancing beyond "cooperation," this deeper look at the roles of lead and follow raises different kinds of questions and solutions.
.
If you have any questions or thoughts about this topic leave a comment below, and if you enjoyed this article, please feel free to share it!
.
https://www.verokruta.com/post/leader-follower-roles-in-tango
.
Photo by Johanna Jezernicki Ph
Sent from my iPad
Tuesday, July 9, 2024
Sunday, July 7, 2024
Saturday, June 29, 2024
The dancer personality: Comparing dancers and non-dancers in Germany and Sweden
The dancer personality: Comparing dancers and non-dancers in Germany and Sweden
|
Thursday, June 27, 2024
Tuesday, June 25, 2024
Friday, June 21, 2024
Saturday, May 25, 2024
Sunday, May 12, 2024
Tuesday, May 7, 2024
Saturday, May 4, 2024
‘can you say what it is about tango music that got you/keeps you hooked?’
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
‘can you say what it is about tango music that got you/keeps you hooked?’
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
Saturday, April 13, 2024
Thursday, April 4, 2024
Friday, March 29, 2024
Thursday, March 21, 2024
Wednesday, March 20, 2024
Tuesday, March 19, 2024
Sunday, March 3, 2024
Wednesday, February 21, 2024
Sunday, February 11, 2024
Tuesday, February 6, 2024
Saturday, January 6, 2024
Thursday, January 4, 2024
Home - The Cambridge Companion to Tango Web Resources
Book forthcoming in April or May…
Tango music rapidly became a global phenomenon as early as the beginning of the twentieth century, with about 30% of gramophone records made between 1903 and 1910 devoted to it. Its popularity declined between the 1950s and the 1980s but has since risen to new heights. This Companion offers twenty chapters from varying perspectives around music, dance, poetry, and interdisciplinary studies, including numerous visual and audio illustrations in print and on the accompanying webpages. Its multidisciplinary approach demonstrates how different disciplines intersect through performative, historical, ethnographic, sociological, political, and anthropological perspectives. These thematic continuities illuminate diverse international perspectives and highlight how the art form flourished in Argentina, Uruguay and abroad, while tracing its international and cultural impact over the last century. This book is an innovative resource for scholars and students of tango music, particularly those seeking a diverse international perspective on the subject.
https://www.tangocompanion.com/
Sent from my iPad
https://www.tangocompanion.com/
Sent from my iPad
Subscribe to:
Posts (Atom)