Regularly listen to Argentine tango music
Listen to the music regularly and repeatedly. Plug “Argentine tango” into your Spotify, Pandora, or other radio, and let it play in the background.
The pulse of the music matters. Learn to recognize and step on the strong beats of the music. When you can do this reliably then you can begin experimenting with taking one, two, three or more beats to complete a movement.
Attend milongas regularly and watch. Identify people, both leaders and followers, whose movement and style you admire.
Know that what you admire in tango dancing now may change as you mature in your understanding of the music and the dance.
After you’ve gained some sense of the people in your tango community, and early on, seek a mentor, both a leader mentor and a follower mentor. These friends could be some of the most valuable help you receive for progressing rapidly in your understanding of Argentine tango.
Make everyone a friend. It’s a hard process to learn Argentine tango, and many times a friendly, supportive comment from others will be all that keeps you going.
Take every opportunity to make honest and earnest comments about specific improvements or accomplishments you observe in a person’s dancing, or the questions they ask, or the help they give, or . . .
Help out whenever you can. It takes active and involved participants to keep a tango community going and growing. Working with others will help you build friendly relationships.
Meet the milonga DJs. Thank them for their valuable, thoughtful service and get to know them. They are a wonderful source of information on Argentine tango music, orchestras, and songs. They have been a central part of the scene for years.
Take notes in class. Videos of didactic (or mostly, actually, non-didactic) demos are fine, but that is a passive activity. How often do you actually go back to videos to study them, understand them, and practice them? Notes should be an active process. You can’t take down every word. You can only afford the time to write key concept words and phrases in terms that make sense to you, and to sketch.
Practice sketching. It doesn’t matter what it looks like, only that you understand what it means.
Review and recast your notes. It’s when you attempt to explain something to someone else (even if that someone else is your permanent notes) that you begin to gain a real understanding.
Argentine tango reduced to geometry is all about circles and triangles on the floor (and even in the air). Your partner (or you) move in a circle either about your own axis (or sometimes in a tangent to the circle) or in a smaller circle about their axis. The two of your feet and one of your partner (or vice-versa) form a triangle that creates a stable base on the floor. Learn how movements go into or out of what specific configurations, and then you will have a deeper understanding for how to do this movement and variants of it.
In Argentine tango, sequences of moves have no intrinsic value (setting aside historical significance and utility as a learning vehicle) in and of themselves. You may on occasion be able to use an entire sequence intact, but you’re much more likely to find it useful to break apart and understand the elements of a sequence. The teacher will most typically show you one way to start and one way to exit a sequence, but you want to learn, and explore for yourself: what are all the different ways I can get into or get out of this sequence; which of those ways feels easier, relates to other things I know, or is more “organic”; what are the atomic movements that make up the sequence; how can they be recombined differently; can it be done to both the open or closed side of the embrace; how can I relate these movements to the music?
Leading or following: The reason you practice a movement to an actual tango song is not so that you can mindlessly repeat the sequence over and over and over again. It is so you can fit the movement naturally into your dance. (Understanding that there are exceptions while you both work out the kinks.) Do not push and pull to put yourselves into the same starting sequence each time. Instead, dance into the sequence from all the different ways that make sense. Dance out of it in all the different ways that make sense. Explore the pieces of it. Explore doing pieces to opposite sides or directions.
Don’t bother saying, “Sorry” for anything except for running your partner into something or someone (where you may owe multiple expressions of “Sorry”). It’s an imperfect world, and this tango can make it seem more so at times. Mistakes will be made. Your partner will know, or may not know but won’t care in either case, why you are temporizing in the face of traffic, or the sudden grab to prevent a collision. If your partner says “Sorry” to you, a comforting squeeze or a murmured “Not at all” can be nice.
Learn to both lead and follow. A lovely aspect to Argentine tango is that all the movements are available and useful to both leader and follower. It helps tremendously to understand all the issues involved by experiencing the dance from both sides of the embrace.
Know that your fellow dancers, whether leader or follower, and whether novice or experienced, may have the much the same anxieties, doubts, and fears that you do. We’re all in it to support each other, learn, and enjoy ourselves with each other.
The best you can be, whether following, leading, or learning, is calm and confident, even and especially if you don’t know what you are doing. Calm and confident that your leader will give you a good dance (even when they don’t). Calm and confident that you will satisfactorily show yourself as a leader (even when you don’t). Calm and confident that you will understand what is going on, even when you don’t right now.
Have the confidence to step out of a lesson and only observe when you feel that it is beyond your current understandings.
Have the confidence to feel that you can learn a difficult movement, with patience from yourself and your partner, an attitude of exploration and helpfulness, and with help from the teacher.
Have the confidence, when the teacher isn’t available, to ask for help from someone else that seems to be getting it.
It is difficult to give constructive, useful feedback. Try this formula, When I do this, what I’m feeling is this, and what I think I’m wanting is this. What do I need to understand differently?
Never make excuses for or object to feedback, questions, suggestions. Do insist, if need be, on your right to be treated with dignity and respect. Otherwise, comebacks serve to cut off or minimize future, possibly very useful input. They also serve to minimize in your mind the value of input before you’ve even had a chance to understand it. Do question the other person as necessary to feel that you understand the point they are making. Then let it rest inside you, quietly observed. With a little calm patience you may well come to feel that you can tease out a little or even a lot of useful understanding from it.
Remember the people who help you. You will want to repay their kindnesses. Be kind in turn to other new dancers. Help bring them into the community.
Above all, know that if you are doing for yourself, you are doing it for good.
(I wrote this after reading the article that Mari Johnson referred me to: Offbeat Advice I Wish I Was Given In School.)