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Giving and Receiving Feedback in your tango class

posted Mar 10, 2018, 7:13 PM by Sophia de Lautour   [ updated Mar 10, 2018, 7:19 PM ]

Giving Feedback 

Give and receive feedback effectively: 

Getting feedback from fellow dancers can be an important step in recognizing your own mistakes and improving your dancing. However, it is vital that the act of giving and receiving feedback be done in a way that is comfortable, polite, and desired on both sides. 

Giving feedback
Ask your partner for permission to give feedback. 
If they do not want feedback – do not give feedback unless what they are doing makes you feel unsafe or uncomfortable.

If they do want feedback - tell them something specific and constructive.

Bad feedback examples: “You’re a terrible dancer” or ‘No that’s not right' or ‘Not like that'

Good feedback example: “I feel that your arm is getting tight when you do this particular move”
The tone of feedback is just as important as content. An  impatient, irritated or disapproving tone will be very counter productive!

Receiving feedback
When asking for feedback yourself, first ask your partner if they are comfortable giving you feedback. If so, ask them about something specific and easy to watch out for in your dancing. (e.g. “Can you give me some feedback on my posture in that dance?” or “Can you tell me if my arm gets tight when I lead this move?”)

There is more to say on this subject -  am writing a blog post on ‘The Art of giving and receiving feedback' which you will receive shortly.

Give and receive feedback effectively: 

Ask permission to give feedback - this can be done at the beginning of each change of partner.

The tone and wording needs to be exploratory, and aiming towards a better feeling in the body for both partners. Avoid using the word ‘but’ and ‘not’ . 

The following words and phrases are particularly effective:

  • ‘let’s’ 
  • 'even’  
  • ‘how about’ 
  • ‘better'
The following words are not effective:
‘not’ (use ‘and’ instead)

Here’s an example of effective and ineffective feedback in case of the leader needing to make a bigger side step.


“Not like that”

“ That step was too weak”

Another good approach is to say When you do this (fill in blank) I feel this and this makes it difficult for me to (blank). You can then continue with How about next time you (fill in blank) and well see if that feels better.

E.g When you lead me to your left a forward circular step I feel your  torso turning to the left but your left arm pushing me to your right and this makes me unsure of where I should step. How about next time you monitor your left hand to make sure it is matching your torso lead, and lets see if that works better.

Ineffective feedback would be:n ineffective feedback would be:

"Thats not working, thats not how you lead that move, you are pushing too hard with your left hand"

2) Recognise what is working before giving feedback that is about correction. e.g. "That side step was good, how about you push even more into the floor next time.

Instead use phrases like ‘Let’s see what happens if you (fill in blank) or 

Getting feedback from fellow dancers can be an important step in recognizing your own mistakes and improving your dancing. However, it is vital that the act of giving and receiving feedback be done in a way that is comfortable, polite, and desired on both sides. I have outlined some guidelines of when and how it is acceptable to give and receive feedback in our community.

Why to give feedback – If you feel uncomfortable because of something the other person is doing (e.g. hand position), if someone has asked for it (e.g. “Could you give me some feedback?” “Did my arm tense up when I did that move?”)

How to give feedback
Ask your partner for permission to give feedback.
- If they do not want feedback – do not give feedback unless what they are doing makes you feel unsafe or uncomfortable.
- If they do want feedback - tell them something specific and constructive.
BAD feedback: “You’re a terrible dancer”
GOOD feedback: “I feel that your arm is getting tight when you do this particular move”

How to receive feedback
-When asking for feedback yourself, first ask your partner if they are comfortable giving you feedback. If so, ask them about something specific and easy to watch out for in your dancing. (e.g. “Can you give me some feedback on my posture in that dance?” or “Can you tell me if my arm gets tight when I lead this move?”)

Where/When to give feedback 
If you are in a class or practice setting. Avoid offering feedback in a social dance context unless you are feeling uncomfortable.

If someone makes you feel uncomfortable or unsafe during a dance, always address the problem right way or find a teacher or organizer to approach them for you.source:

The Stefan Fabry Five-Step Formula
To Giving Tango Feedback :)

Observe. Silently observe patterns in what you and your partner are doing. Is there a moment, or a way, in which you notice the connection is consistently interrupted/weakened?
Ask. Ask your partner: "What are you working on?" It is useful to know where their focus is; they may be working on something else entirely. Give them the benefit of the doubt that they are working on improving something.
Articulate. Express what you noticed in neutral descriptive terms. Describe this issue as something that is happening to the couple, not that something he/she is doing. E.g., "It seemed to me that the last few times we did that turn, we lost the connection in the first step of the turn."
Invite. Invite them to give you feedback. "What could I do to help us stay connected in that moment?" Listen openly. They may be able to suggest something that will improve your dancing!
Offer. Offer your ideas on how to improve the issue. "Would you like one idea that I think might help?"
In the process, we found it is extremely helpful to switch roles. And, be sure to celebrate the parts that you feel are working really well! There's never any need to apologize or avoid feedback.

We are one another's best teachers. Making the most of every partner uplifts our practice and increases our ability to connect.

The following advice was based on an article by Swingdancesta

Learner's Milonga - what's that?

posted Dec 7, 2017, 6:32 PM by Sophia de Lautour   [ updated Dec 12, 2017, 5:05 PM ]

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pic by Viet Nguyen

One of my passions is bringing new people into tango. For the past eighteen years I have been dedicated to this goal. I absolutely love the way social tango dancing can be life changing and transformative; all whilst being so much fun! 

This post is being written on the eve of SoTango fifth Learner's Milonga this year! My co-teacher Pablito and I are loving how this concept is encouraging more new dancers to attend milongas around Sydney and even tango festivals out of Sydney!

SoTango students enjoying dancing at their first tango festival (Bundanoon)

So here's my thoughts on / background to our Learner's Milongas...


SoTango's Learner's Milongas are designed for people who are experiencing one or more of the following:
  • Not feeling confident about dancing at milongas
  • Sitting too long at milongas 
  • Not getting dances with the people they’d really like to dance with
The Learner's Milonga provides and ideal opportunity for people to dance with a range of dancers (from beginner to experienced dancers) to improve their tango skills and confidence.

Since its inception in 2013 SoTango has regularly arranged student outings to milongas and practicas around Sydney hosted by different tango schools and Tango Synergy (a not- for-profit association).

While some of our students enjoyed the experience, many found the experience quite daunting, opting for (or delegated to) the role of spectator over that of dancer - even at the Tango Synergy Practica which is a probably the most informal and inclusive of all Sydney's tango events.

Based on this observation, I identified the need for a tango social event that bridged the gap between taking tango lessons and dancing at milongas.

It could be argued that practicas fulfil that need and in one sense they do. Practicas or practilongas (a name we have used for quite a while) certainly help dancers practice moves that they will use in milongas. What they don't do so well is to help people fully acclimatise to the culture and codes of a milonga. Only going to a milonga can really do that. 

The catalyst
At the same time of coming to this realisation, and with beautiful synchronicity, I spotted an announcement of  a Milonga for Learners in Ashfield. The milonga was hosted by my friend  Alejandro Ibarcena of Urban Tango who (like Pablito and me) is dedicated to introducing new people into tango. Alejandro has been hosting such milongas around Sydney for some time now.

Consequently, SoTango's next student outing was to this milonga. Our students all raved about the experience and it was the first time I saw every one attending from our group dancing a lot and feeling comfortable dancing tango socially. This was a light bulb moment for me. I could see the Learner's Milonga concept worked!
Alejandro's event was thus the catalyst to the name of Learner's Milonga. Originally we were going to entitle our event as a Beginner's Milonga, but the descriptor of learner takes away the baggage and subjectivity associated with that of beginner

There really is such a divergence of opinion on what it means to be a beginner in tango. At one end of the scale there are those who (demonstrating the Dunning-Kruger Effect in action) feel qualified to teach after a few months of lessons! Then at the other end of the scale there are those who modestly still call themselves beginners after many years of dedicated training and kilometres on the dance floor…it’s a very subjective title.

Essentially we who love tango are all learners - if we believe that there is always something new to learn in tango, and that there is indeed!

Here, however the Learner's Milonga is particularly dedicated, as mentioned above, to people who are already taking tango lessons but not feeling confident to attend milongas. 

As far as I am aware there are now at least two milongas dedicated to learners in Sydney: 
  • SoTango's in Bondi Junction, which occurs every 2 months on a Saturday or Sunday afternoon. 
  • Urban Tango's Milonga for Learners occurring on the 4th Saturday night of each month in the Blue Mountains.
It's only a matter of time before more Learner's Milongas pop up around the world - as the concept gains traction!

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Do you have the courage to live a passionate life?

posted Aug 20, 2017, 6:30 AM by Sophia de Lautour   [ updated Aug 20, 2017, 6:30 AM ]

Sharing this great post by Marlena Rich. Read here: ' Step Into the Mystery of Argentine Tango'

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It takes a while to recover from a tanda like that

posted Jun 26, 2017, 10:53 PM by Sophia de Lautour

The inspiration

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Painting of El Beso - by Michael Fisher

'In the tiny fish-bowl world of El Beso, the smallest gestures can assume enormous importance. Contacts between men and women are largely reduced to, on the one hand, the subtlest of silent mimes, the cross-room eye contact, the looks and half smiles and nods as decorous and yet as fraught with meaning as the gestures of characters in a Henry James novel, hinting at passion and betrayal in the way they pass a teacup, in a seemingly innocent remark about the weather, in the way they notice a tiny crack in a bowl on a mantelpiece. The conspiratorial raised eyebrow that says "I'll be yours for this Laurenz tanda, if you'll be mine."

And then there are the strange, diametrically opposite interactions that happen between us on the dance floor. We intersperse snatches of often very trivial small talk between songs with holding each other in our arms like lovers and moving, intimately physically connected, together to the accompaniment of often passionate and romantic, intensely beautiful and moving music. There is a huge and sometimes awkward gulf between what we say to each other and how we communicate on a physical level. I often wish we didn't talk between songs, but I do it because it is expected, a convention which is so firmly established that breaking it feels like a strong statement.

And, in that tiny microcosm of a world where every gesture is magnified, sometimes magic really seems to happen. Sometimes, you don't say a word between songs because you don't want to break the spell. Sometimes, your bodies seem to fit together perfectly, conjoined twins floating in embryonic fluid, long-term lovers well past the first fervour of passion suddenly rediscovering each other and feeling your bodies infused with a long, deep history, a profound carnal knowledge. Sometimes, you are aware of the whole of the other person from their head nestled next to yours to their weight being released through to the floor at each step and the music feels physical, it's not coming through the speakers, the source is not Lucía up in her eyrie, our deus ex machina of music, nor is it Laurenz's fat phalanges dancing over the buttons, confidently familiar with each one by feel, by the way his own playing has worn them down over the years, like a beloved lipstick reapplied many times that has been moulded into the shape of a pellet that perfectly fits a pouting mouth. Our twin sets of lungs like double reeds. Our bodies twisting and rolling against each other, connected from head to lower belly. With no more need than Laurenz had to think about positions and movements and where to place ourselves, thinking only about the music, flesh made music and music made flesh in the miraculous transubstantiations of our dance.

It can take a while to recover from a tanda like that.'

posted 27 January 2015

It takes three (or four) to tango

posted Jun 26, 2017, 7:42 PM by Sophia de Lautour   [ updated Aug 21, 2017, 4:56 PM ]

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In the old cliche
'It takes two to tango" the role of the music is ignored. The music is the ultimate leader in tango.  If therefore takes three to dance tango - or four if we consider social tango dancing and the impact of others on the floor. 

To illustrate this relationship I like to use the analogy of the earth (leader) and moon (follower) revolving around the sun (music) and the space between (others dancers)

The earth and moon both orbit around the sun. 
Guided by the music the leader and follower create their movement. The music enlightens and enlivens their movement. Inspired by the energy of the music the dancers respond with their unique physical expression, but always within the parameters of the music's rhythm, melody and mood.

The earth and moon are affected by each's gravitational pull
The leader's and follower's movement is dependent on and influenced by each other:

"If the Earth and Moon did not exert a force on each other they could each move independently of the other, but because they do exert a force on each other, their velocities are changed according to the magnitude and direction of each force and their respective masses. Since each is pulled toward the other, the Earth is pulled toward the Moon and therefore a little away from the path it would otherwise follow around the Sun in the absence of the Moon, and the Moon is pulled toward the Earth and therefore a little away from the independent path it would otherwise follow around the Sun in the absence of the Earth. If one or the other did not exist, the remaining object would orbit the Sun in an orbit nearly identical to the path the pair currently follows around the Sun, but since both exist they each follow a path that is roughly the same as their imaginary independent paths, but not quite the same paths as a result of their interaction with each other." 1

In tango a leader / follower simultaneously receives two 'pulls' - the pull of the music and that of their partner. 'Pull' here refers to a force that can suggest, open up or close off movement possibilities. The partner's pull is based on their position in space, velocity and direction.

A tango dancer needs to be able to stay simultaneously connected to the the music and ones partner.  S/he must find a way to synthesise both influences. From this synthesis comes the dancer's unique self expression.  Failure to do so will lead to loss of connection (orbit) with either the music or partner. The dance will be incomplete.

As suggested earlier, in social tango dancer there is a fourth element - the other dancers on the floor - the 'space between'.  It's a very dynamic space, the presence of which can greatly impact on the dance, depending  on how many 'others' there are!  A dancer's moves will be constrained by other dancers. When there is no room to move forward the leader may suggest the circular, spatially economic move of a giro. The follower, aware of space limits, will keep her footwork as small as compact as possible avoiding any temptation for kicks and flicks! When space opens up on a crowded floor the leader may be irresistibly drawn to take a spatially indulgent 'caminata'2.  

Not wanting to get too Newtownian, this post does not intend to reduce tango to classical mechanics. Tango is so much more than objects moving in space reacting to other objects. Tango is essentially the art of connection and an act of communion. That said, to be able to dance tango soulfully and pleasurably a practical understanding of the mechanics of tango is an essential prerequisite. 

In tango there is a complex alchemical interplay between leader and follower connecting and communing with the music and the other. From this alchemy the dynamism and magic of tango is forged!

1 C Seligman online astronomy course
2 'caminata': tango walk

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Intimacy on the dance floor

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Why tango is growing in popularity worldwide...

posted Jun 20, 2017, 3:24 PM by Sophia de Lautour   [ updated Aug 10, 2017, 3:15 PM ]

Sharing this article which caught my eye today.  Have highlighted some of my favourite quotes from the article.

If this post tempts you to try out tango - go to SoTango's  free introductory tango lessons in North Sydney on Sep 4 and Bondi on September 6.

Why is Argentine tango so popular?
By James Kong March 26, 2012 02:21 BST

Tango is like playing chess, having a work-out, being on a date, travelling through space and time, discovering a foreign culture, going to a concert, and exploring one's creativity... all at the same time. Does it sound complicated?

Some may be surprised to read however, that it is much less complicated in the inside than it looks like on the outside - to summarise how it feels in just a few words, it is best described as having a warm conversation with very close friends. The biggest misconception in tango is that the man 'decides' and the lady 'executes' - in fact, the man's role is to make the lady shine on the dance floor, so all his attention is put towards this goal. It is therefore a truly selfless act.

Tango being a partners' dance, it involves a leader (usually the man), and a follower (usually the lady). So, what does dancing tango mean for each of them?

From the man leading...
The leader's main responsibility is to listen to the music and plan steps according to the emotions the music stirs in him. As tango maestros put it: "Music goes in my ears, is filtered through my heart, and comes out through my feet". It is said that when talking, unspoken body signs are at least as important as what is actually being said. In tango, communication goes 100% through one's body. The leader will therefore engage into a warm 'conversation' (using figures) with his partner. The impression he is also playing chess comes from the fact his environment is constantly changing: other couples are moving, music is accelerating, his partner did not understand his latest step, and so on. So, he needs to constantly adapt.
This is why gentlemen in management positions (or wanting to develop their management skills) love tango so much: it is the ultimate test for them. Being decisive, innovative, clear, and all this while being gentle and inspirational. Sounds familiar?

To the lady following...
Her role is far from being easier than his: she needs to listen carefully and understand the steps planned by the leader. For this to happen, she needs to be quick to respond, fully concentrated, and to trust her leader completely - or 'surrender' as some put it. She also needs to be 'light' (without trying to second guess what the leader is up to). But that is not all: if she barely executes the steps without interpreting them, it will soon become a bit dull. Thus, she needs to put all her heart and creativity, bring her own personality to the table and fuel the conversation, inspire her partner and contribute to the dialogue. So that, if a step is lead twice, the outcome never looks the same. As tango maestros put it, "The woman is not just a follower, she is to whom the tango is dedicated".

How does she do that? Adornments ("adornos" in Spanish - these little movements used to embellish the lady's dance) are amongst the most important part of the follower's arsenal to express herself. They need to be precise, quick, in tune with the music and the lead, without getting in the way of what the leader has planned.

As Nathalie, the founder of Tanguito, an Argentine tango school in Angel argues, they need to say something: "When drawing a lapiz (circle on the floor), mean it. When rubbing your foot against the leader's leg, mean it. There's nothing worse than half baked adornos, thrown in hastily just for the sake of it". A good follower is therefore someone who inspires the tango dialogue, with style, personality and technique.

... truly dancing together
While both roles appear very different, they share one thing in common: respect. Respect of oneself, of one's partner and of the dance floor. That means to forgive these parts of the tango 'conversation' that don't feel right, and show consideration to the other couples dancing around. That also includes showing respect to the music: in other words, to resist the temptation of throwing in impressive moves regardless of the tune. When all these ingredients are put together, it creates an exhilarating feeling of freedom and togetherness.

Because Argentine tango is so rewarding, it now attracts a new crowd to the dance. Young urban professionals are increasingly drawn to tango, and are often surprised to discover that tango helps them bring out the best of themselves - because tango relentlessly questions and challenges. In her group tango classes in London, Nathalie encourages both men and women to try leading and following. It's not surprising that this is how tango has always been transmitted, as you can never better understand your partner than when you've experienced things from their perspective.

Click here for the original post.

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Reproducing this article in its entirety, as links tend to get lost in cyberspace over time.  

8 Tango Myths Busted!

posted Feb 16, 2017, 5:07 PM by Sophia de Lautour   [ updated Sep 21, 2017, 12:09 AM ]

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Tango newbies, are faulty assumptions stopping you from taking your first tango lesson?

From my experience of teaching tango for over 17 years - these are the most common myths people have about tango...

1. It's full of complicated choreographies.
2. It's a ‘macho’ dance, with men leading and women following submissively.
3. It's a dance you have to start young (with all its kicks and flicks)
4. It's a very serious and melancholic dance.
5. It's “just a dance”.
6. It's a sensual, erotic dance (with shades of S & M)
7. It's that dance where the woman wears fishnets and a red dress (with optional red rose between the teeth) and the man a black suit. 
8. It requires a partner to learn how to dance.

Absolutely none of the above are true!

These and other 'alternative facts' about tango are debunked in the following article by the London based-tango school Tango Space10 Tango Myths Busted -   Click on the link for the article.

Thank you Tango Space for your work in revealing the true tango - the tango that aficionados all over the world are so passionate about! 

Related Posts
The reason you don't take your first tango lesson

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The reason you don't take your first tango lesson...

posted Feb 6, 2017, 3:00 PM by Sophia de Lautour   [ updated Sep 21, 2017, 12:43 AM ]

...or don't practice your tango between's not lack of motivation.

In this TED talk (one of the 20 most popular TED talks ever!) Mel Robbins, a former criminal defence attorney turned on-air commentator exposes the myth of motivation.

Mel also explains how to make the micro-decisions that will help you to step out of your comfort zone - the pre-requisite action to any worthwhile goal.

Mel abides by the '5 Second Rule' (not the one about food dropped on the floor!).
You can read more about that approach here.

"So here's the one-liner definition of the 5 second rule: If you have an impulse to act on a goal, you must physically move within 5 seconds or your brain will kill the idea."

So when you hesitate to take that first tango class, do your tango drills, dance at your first Practica or Milonga, or perform tango in public...

Don't hesitate!
Take action within 5 seconds.
Be aware that your mind, if given time, will always find ways to stop you from taking action; bringing up a tonne of reasons why you shouldn't act (such as the classic one for Sydney-siders - bad weather!).

Just take action! 
Do something towards your desired goal - book that class, put on your dance shoes, or whatever else you need to do to get started!
Go do it!

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About 'levels' in tango...

posted Feb 3, 2017, 3:36 PM by Sophia de Lautour   [ updated Feb 3, 2017, 3:45 PM ]

Sharing this post by Chicho Frumboli (a tango pioneer and one of the most inspirational tango dancers in the world) translated by Julia Shiptsova (December 28, 2016)

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A message from Chicho Frumboli. Always fascinating reading that makes me think! I've tried my best translating, please forgive the imperfections! 

“There is nothing worse in tango than believing that we dance well and have a “level”. A boleo, a sacada, a gancho, a colgada executed more or less in the rhythm, and we already feel that we are “experts”, “critics”, “professionals”…. Tango has “this” that for my generation is something new. 

My generation worked every day to understand, grow, and improve, because the information wasn’t as clear as it is for today’s generations. To investigate, discover, get together with friends to practice what we have studied and learned in a class…. it all seems as if it were from another age…..

It’s not easy to keep “motivation” in any part of life. Routine is a pattern to follow “comfortably” for some. For others routine can be crushing and destructive in terms of learning or creativity. 

Some leaders and followers say it’s hard to find a partner to take classes with or to dance in milongas, someone “who would be at my level” as they describe it, but have they ever questioned if they themselves have that “level”?? 

I say this because of the competition that exists today. When learning tango, we have to think in being open and available just as much as in listening to our own bodies and in controlling certain moves that we maybe never thought we could get, in learning about the dynamics, the musicality, the syncopation, the dialog. 

The technique is the same for men and women, the only difference is that one leads and the other follows. However, I see that often men focus on the movement, without thinking what they express with it, a lot of times those movements have no content and appear more like a monologue that doesn’t include their partner. Hiding behind the movement impairs our ability to commit to the emotions or to another human being in that moment. 

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And women want to be led that boleo that they have perfected and also to be able to connect…. But what if the Wi-Fi isn’t working well? What if this time the Bluetooth is failing us? What do we do??? Abandon it all???

After working for Tango for over 20 years, investigating and creating ever since discovering it, I can tell that my technique is based on “giving and receiving”, listening and responding, on having a dialogue… those who are familiar with it know that it’s what it is. 

There are not many generous people in tango. 

What does the “LEVEL” mean? Maybe it’s something that allows us to be a part? To belong to a select group of people who woke up one day and decided that they can convert into critics and look down at others from a different height?? 

Or is it someone who is aware that there is always something to learn and is available to share? 

“Outfits” don’t make one a tanguerO, a “high boleo” doesn’t make one a tanguerA.

What does make us tangueros is the sentiments that we dance and listen to, it’s not only the connection, but also the sentiments for the music, for the shared movement, for the enjoyment of a tanda, with whomever, without thinking of their LEVEL. 

Learning is a divine state, a beautiful process of exploring. Let’s do it for the tango as the tango has been doing a lot for us. Let’s study it, understand it, take care of it, instead of destroying it with our human banalities.

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Let’s caress, embrace, let’s dance with love. The more we give… the more we will receive…
The trends, the critics, the experts - none of it exists in Tango. Let’s not contaminate it.
I’m waiting for you in the class to enjoy, to have a good time together, and to share with both, MEN and WOMEN, those who would like to keep growing, who feel that Tango keeps “motivating” them, those who would like to be a part and belong to its world, without the limitations. Abrazo!”

Mariano “Chicho” Frumboli"

Here's one of my all-time favourite displays by Chicho and his partner Juana...

Find out more here about SoTango's upcoming courses in Bondi and North Sydney - catering to all levels from beginners to all levels.

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What tango habits would you like to develop in 2016?

posted Jan 11, 2016, 10:48 PM by Sophia de Lautour   [ updated Jan 11, 2016, 10:48 PM ]

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Recently read this excellent blog post by the 'author, thinker and life enthusiast' Mark Manson (is he perhaps related to Marilyn I wonder?) So agree with Manson that goals are over-rated. What's more important to personal success is the development of good habits. 

My purpose of writing this short post is both to etch this message into my own mindset, and to share it more widely because I think it's a wonderful message for the start of 2016 when so many of us are making our 'New Year's resolutions'. 

While on a catamaran in the middle of Sydney's glorious harbour a friend asked our intimate group of merry makers what our resolutions were. The boat's skipper replied (I thought very wisely at the time) that he did not make resolutions on the eve of a new year. He preferred to formulate them slowly over the course of January. 

I'm following the wise skipper's advice and that of Mark Manson - I'm deciding on what good habits I might like to acquire  this year. 

That begs the question as to what good habits I might like to acquire in terms of my tango development? As anyone who dances knows, the tango journey of improvement never stops, and that's what we love about it!  I am still working on my tango habits resolutions... January is not over yet my friends!

You can read Manson's post here. It's highly recommended it if you're in to improving your life in 2016 and onwards.

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