Tango teachers talk too much!

In nine out of ten tango classes I have attended I have experienced how good dancers, eager to transmit their knowledge, have talked so much and given so much information, that I after ten minutes were more confused than clarified. Often, in these situations I can see other people suffering from severe information overload just like me (they get pale, uninspired and frustrated). I have seen this over and over again, and for that reason I rarely take classes anymore.

I have experienced classes where the teachers were killing the class by talking more than 50% of the time, but why is all this talking a problem? One would think that teaching is about explaining and therefore it’s natural that the teacher jumps to the conclusion that “the more I talk the more I teach” but it’s wrong:

Teaching is not the primary activity in a class, learning is! 

But with teachers talking so much learning becomes very difficult for the student. Focus has to be moved from the teacher to the student, from the teaching to the learning process.

Seven, plus or minus two

In 1956 the cognitive psychologist George A. miller published the article “The Magical Number Seven, Plus or Minus Two: Some Limits on Our Capacity for Processing Information” in which he describes the limits of short-term memory and working memory capacity. In his research he presented a person for a number of stimuli to which there was a corresponding response (learned before). Performance is nearly perfect up to five or six different stimuli but declines as the number of different stimuli is increased. This means that a person can perceive up to six information’s and keep track of them but more than six is more or less a waste.

How many information’s are not given in just one instruction in a tango class: left foot there in this angle, lead with your chest, remember to wait for the follower and all this together with the information’s about the sequence, the student is supposed to learn.

The second cognitive limitation Miller discusses is memory span. Memory span refers to the longest list of items (e.g., digits, letters, words) that a person can repeat back immediately after presentation in correct order on 50% of trials. Miller observed that memory span of young adults is approximately seven items. And since the information needs to enter working memory before it can be stored into long-term memory, the teacher has to organize his teaching without overloading the short-term memory.

It’s clear, that most teachers are unaware of this. A consequence of should be that a 60 minutes tango class should consist of cycles of instruction, demonstrations, practice, feedback and correction distributed on:

10 minutes of instruction

10 minutes for demonstrations (visual information is better than logic information)

10 minutes for feedback, questions and corrective instructions

30 minutes for practice (trial and error)

For all teachers (not only tango teachers) this means, that the value of their teaching not is in the quantity but the quality, and that quality is defined by what you say and demonstrate and even more important what you leave out – what you don’t say. A good teacher understands that not everything can be told and that the student can absorb very little information.

Five classic mistakes made by tango teachers

Mistake N^o 1: The preframing is poor or non-existent. The teacher takes it for granted that the students know what it’s all about but the student need headlines on what is going to happen, what the goal is and what they can expect from the class.

Solution: In the beginning of the class explain the topic and the goal of the class, and what the student can expect to learn and not. This releases working capacity memory which would otherwise have been occupied by asking (consciously or unconsciously): what is this about, why are we doing this, what is the goal, why is this important?

Mistake N^o 2: The teacher forgets how long time they spend to learn a certain technique and expects their students to learn it faster than they did themselves. As a consequence the program for a class is too comprehensive and not meeting the needs of the student.

Solution: Open your eyes, look at the student and start the teaching at his or her level. Be flexible: if you see that your program is too complex, change it.

Useful feedback to your dance partner

Over the years I have heard really crabby feedback from leaders to employees, trainers to athletes, peer to peer or between partners in tango classes. The willingness to give feedback is there, the intent is often very good but the quality sucks: it gets too pessimistic and negative with a focus on what doesn't work rather than what does.

Therefore I decided to write this post about feedback. The goal is to inspire you and your dance partner to give useful feedback to each other. 

The fact is that we as dance partners in the learning situation has huge effect on each other, and with positive and goal oriented feedback, that influence will be very attractive, as opposed to negative feedback that will make the learning situation frustrating and sometimes make you want to have another dance partner or stop dancing at all.

Why give feedback – what is the goal?

The content and form of the feedback is determined by the goal: what does the person who gives the feedback want to achieve. In this post I will argue that feedback in a learning situation always aims to contribute to learning and development, preferably in a fun and positive atmosphere. The goal is that the person you give feedback can use it to learn and develop and become even better.

• Goal with feedback: to help oneself and others to learn
• Method of feedback: to give information’s about the things your dance partner do good and where there’s room for improvement.
• Presupposition: forget the idea that it always is your dance partner who has to change or improve. In that perspective dancing is like life: in 99 times out of 100 there is room for improvement for both parts, leader and follower.

Five tips for useful feedback

1: Say what you want to achieve, not what you want to avoid. The brain cannot concentrate on the opposite of something, for example, if I say: “don’t think of a pink elephant” your brain will have to construct a 'pink elephant' before it can start spending a lot of energy on, often fruitless, forgetting it again. Therefore it is better so stress what you want to achieve rather than what you want to avoid. For example: “can you put more energy into your rotation?” (rather than: “please don’t stop in the middle of your rotation”)

DJ disasters

I once went to a milonga that celebrated Canaro’s 120-year birthday by playing Canaro all evening. Earnestly… what a boring evening! After one enthusiastic tanda, and one more because I can never have enough of something good, my brain slowly degraded into some kind of tango-porridge. It got stiff, so did my dancing.

A few years previous to this I visited a milonga in Sydney - Australia, and the DJ played Piazzolla almost all evening and after feeling sorry for myself for quite a while I gave up and went to the bar to get drunk in good and well chilled australien white wine. 

Luckily those kinds of extreme experiments are few, unfortunately it does not have to be that extreme to have a bad influence on my mood and capability of dancing a nice tango.

Many DJs tend to label their style e.g. modern or classical. This, of course gives an idea about the music to expect from the DJ and guides the DJ in his work, but if the DJ, consciously or unconsciously, also gets stuck in a specific time period or style; rhythmical or lyrical, it glues my feet to the dance floor, and I stop dancing and talk with friends and drink wine or beer instead.

Basics of tango DJ'ing - for beginners

The first song in a tanda is a promise to the dancers – if they like it they go to the dance floor, that’s their commitment. A good DJ keeps his promise and makes sure that the following songs in the tanda are connected to the first song either by rhythm, tempo, melody, nerve and ambience. Thats the commitment from the DJ and thats how trust is build up between dancers and DJ.

Tandas  

Make your tandas with songs, that in one way or another fit together. This is often done with some basic rules. A tanda:

• consists of four songs from the same orchestra 
• is build up with songs from the same time period
• feels more homogeny if the fours songs are from the same recording or at least with the same sound quality
• must consist of fours songs in same tempo

These are the basic rules, now the DJ has to give his own fingerprint and nerve to the tanda by selecting which songs to put together and in what order. This is the artistic part of the DJing where personal taste and preferences makes the difference.

Sometimes new DJ’s, or dancers with the wish to become a DJ, ask me about the rules of DJ’ing and how to make a good DJ set. Often they focus on orchestras and ask something like: “is it good to play Di Sarli after waltz?” or something similar but unfortunately it is not that simple.

There is no set of rules that will ensure a good evening for the dancers – if that was possible the DJ would not be necessary, it would be enough with a playlist made by these rules. What makes a good DJ set really has got to do with:

• the skills and musicality of the DJ
• his or her CD collection, it’s difficult to make good DJ’ing from a poor CD collection even though I will say that a good DJ can make a lot out of little, just like a good cook can do surprisingly good food from the leftovers in the fridge

Anyways, if you are a beginner, here are a few guidelines that will help you to get the basic of tango DJ’ing under your skin.

A good team for DJ beginners - 007 Bond is responsible for cortinas...

Trust

Each good DJ has his or her philosophy about that, so do I and I don’t want to reveal it here. Only I want to say that it is very important to understand that The first song in a tanda is a promise to the dancers – if they like it they go to the dance floor, that’s their commitment. A good DJ keeps his promise and makes sure that the following songs in the tanda are connected to the first song either by rhythm, tempo, melody, nerve and ambience. Thats the commitment from the DJ and thats how trust is build up between dancers and DJ.

Presentation of my DJ'ing

In short

I play traditional music. Only on request from the organizer I will play one or two tandas of nuevo or alternative tango.

My philosophy

The DJ works for the dancers and must at any time be prepared to adjust the music according to the mood of the dancers, while still respecting his own style and taste. The dancers are in the center of the event, not the DJ.

For me, a good DJ is always looking at the dancers, seeing what they like, communicating with them, smiling at them and asking himself: "is it working what I'm doing?" and if not - change the gameplan, also if it means that I have to forget most of the stuff I prepared at home. 

My music

A DJ can make or break a milonga and I strongly believe that if I only play my music as in the music I personally prefer to dance to, I will miss the point and lose the confidence of the dancers. I therefore adjust the music so it matches the level and the mood of the dancers but nevertheless still with a strong touch of my personal taste, which means with surprises and inspiration for the dancers.

You will therefore hear instrumental as well as vocal, rhythmical and lyrical, slow and fast, energetic and melancholic, simple and complex and of course old and modern tango.

Looking back at my playlists for the last couple of years I find d’Arienzo, Di Sarli, Troilo, Biagi, Tanturi, Fresedo, Rodriguez, Calo, Canaro, Lomuto, Puliese, Victor and ofcourse a bunch of others such as Laurenz, de Caro, Malerba, Vargas, Castillo and so on. Lately I have successfully played Quinteto Real and Tipica Fervor at some occasions.

But the point is not in which orchestra I play, the point is which songs from the orchestra – it makes the whole difference. This is a topic I soon will develop further on this blog.