Archive for the ‘Metaphors’ Category

No wrong notes

Friday, September 9th, 2005

In classes, you\’ll often hear me remind people that there are \”no wrong steps.\” I also believe that the improvisational and exploratory possibilities make Argentine Tango the jazz of social dance. The following quote from Thelonius Monk brings those two ideas together nicely.

There are no wrong notes; some are just more right than others.
– Thelonius Monk (source)

Faux Pas de Deux or Shuggleftulation

Monday, March 28th, 2005

In my tango foundations classes, I\’ve often addressed the tendency of a nervous follower to second-guess her choice (or the leader\’s lead, or the lack thereof) and take double or triple steps when one or zero would be best. The tendency sometimes arises because of a mistaken belief that it is the follower\’s job to know or guess what the leader wanted and if she thinks she did the wrong thing, to try to fix it herself. I prefer to teach that the follower makes the best decision she can to take either a single step or no step, and that it is the leader\’s job to then decide whether to accept or adjust the outcome.

I generally compare the result of the follower\’s second-guessing to the situation in which two pedestrians are approaching each other on a narrow walkway, and then spend a few awkward moments stumbling and shuffling, trying to get out of each other\’s way.

Today I came across a recent article on The Straight Dope in which Cecil Adams discusses Is there a word for the jig you do trying to get around someone on the sidewalk?. My personal favorites are faux pas de deux, ambi-ambulation, or avoidancing. Do you have a preference or an alternative?

Reusable Tango Code

Thursday, June 12th, 2003

Reusable code is another great property of good programming languages and Argentine Tango. Once you find your favorite pieces of code (say a really efficient parser, or a great boleo combination), you can choose when and where to insert it. You know exactly what it does, how it works, and how best to modify it.

It could be a code/combination that you copied from another source, then modified as your own. It could be something that you wrote from scratch, and even if it does the same thing as a similar piece of code written by somebody else, it\’s still your creation. Once you develop your personal style of dancing/coding, people will see the hallmarks of your style in the choices you make and the pieces of code that you choose to reuse and optimize.

If you share that code with others, then others can observe it, learn from it, alter it, and even attribute it to you. \”Dancer F taught a step to Dancer D. Even though F rarely used it himself, D loved it so much he made it one of his signature steps. F taught me combination Z, but then I modified to Z3X to match my style. Meanwhile, I had been tinkering with idea C, and F solved it by turning it into combination M.\” This kind of thing happens all the time in the Tango (and open-source programming) world, and it\’s a process that feeds continuous innovation and enrichment for the art and its practitioners.

Debugging Your Tango

Thursday, June 12th, 2003

This is going to be a lot more meaningful to you if you\’ve got some kind of experience with programming. For the technically minded, one of the convenient things about tango is that you can debug iteratively. Your ability to take advantage of this depends a lot on how you choose to think about tango.

If you\’re focused mostly on memorized patterns (the more traditional method of learning and thinking about social dances), then dancing is like programming in a compiled language (like C). You have to write chunks of your program completely, then compile to binary, then execute, then read cryptic error messages, then make a change somewhere, then compile, then execute, repeat as necessary. If you\’re lucky, then you have access to some well-documented source code and a good IDE to simplify the process of debugging. But very often, you\’re looking at fairly large chunks of code and procedures trying to find out exactly where in the chain things are going wrong.

For me, working with Argentine Tango is a lot closer to writing in Perl or PHP. These are interpreted rather than compiled, and can be written and executed almost on the fly. You can see the output of single lines or control loops simply by adding print statements anywhere you want to check what\’s going on. If the problem seems too large, it\’s trivial to extract a small piece of code, simplify it and build it back up again to something more complex. Even better, you get your results almost in real-time which makes it easier to rapidly prototype, tweak and improve the code you\’re working on.
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Tango as a Foreign Language

Tuesday, June 3rd, 2003

Learning to dance the tango is like learning another language.

Lots of resources are available to teach you the \”phrasebook for beginners\” with lots of helpful ready-made phrases like \”good morning\”, \”how are you?\”, \”one more beer, please\”, and \”where is the bathroom?\”. If you find yourself in front of a bar on a sunny morning, these phrases become exceedingly useful because they are easy to say, and fit readily in the context you\’re in. If they\’re a little choppy or uncertain, you can slow down, use lots of hand gestures and still be roughly understood.

The problem arises once you step back into the street and have to negotiate with the taxi, or the hotel check-in, or the police officer wondering why you\’re drunk at 11am. How do you handle these novel situations that weren\’t covered in your phrasebook? If you were studious enough, and had a particularly good phrasebook, you might have been exposed to enough similar and varying phrases to build up some mental framework of the language. \”I know that these three words mean \’where is the\’ so I can substitute another noun here if I can wrap my mouth around it…\’library?\’ \’wombat?\’ \’hospital?\’\” You\’re in better shape if you have a few verbs, a handy adjective, and a couple of well-intentioned curses (with gestures). But again, your knowledge is limited to a handful of possibilities which can only be used in very particular circumstances, and only if you happen to recognize the situation you\’re in. Eventually, if you learn enough phrases you can fake a passing knowledge of the language, but still won\’t be fluent.
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Good Followers are Good Listeners

Thursday, May 29th, 2003

A good follower exemplifies the qualities of being a good listener: someone who listens and responds to the speaker with full attention rather than simply waiting for his or her turn to speak.

  • A good listener is comfortable saying \”I didn\’t understand,\” instead of responding to a half-heard statement.
  • A good listener waits patiently and calmly while the speaker assembles his or her thoughts.
  • A good listener can listen without expressing judgment.
  • A good listener will let the speaker follow the train of thought and arive at the conclusion with the speaker instead of jumping to the conclusion ahead of the speaker.
  • A good listener can tell the difference between what a speaker says and what a speaker wants, and can respond appropriately to what the speaker actually said (and can exercise discretion in responding to what the speaker wants).
  • A good listener understands that the things left unsaid don\’t all require a response.
  • A good listener can exercise these skills regardless of the quality and talents of the speaker.