Tango Dancer in the Mirror

You might have heard of the study where 93% of US car drivers estimated that they had above-average car driving skills (Svenson, 1981). Naturally, we would expect that only 50% of the drivers actually had above-average skills. So there must be a huge gap between how people evaluate their own skill, and how their skills would be evaluated by others. This happens in many domains, not just car driving. Might it also happen in tango?

It is called the Dunning-Kruger effect, named after the researchers at Cornell University who published a famous paper on the topic (Kruger & Dunning, 1999). The name is almost harder to remember than the description of the effect:

“Incompetent people tend to over-estimate their own ability, while highly competent people tend to under-estimate their own ability.”

So in tango, unskilled dancers might often believe that they are much better dancers than they really are. But don’t we all believe that we are better than everybody else? No, according to what Dunning & Kruger found, we all just believe we are better than the average guy.

The Dunning-Kruger effect is often misunderstood: it does not state that everybody believes they are better than they actually are, or better than everybody else, for that matter. Look at the graph below from the original paper.

dunning_kruger

 

See how the left-most group got a really low test score (the round dot), but somehow still believed that they were slightly above average (the square marker)? Now look at the right-most group: they got fantastic scores on the test, but rated themselves lower than that. They still knew they were more skilled than the other groups, but they under-estimated how much better they actually were.

So, provided that these results are also valid in tango, we would expect that highly skilled dancers know that they are more skilled than most, but they do not understand just how good they really are.

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The Dunning-Kruger effect makes you over-estimate your own ability only when you are unskilled at something, which means that as you improve your skills, you will also gain a more accurate notion about what skill means and how good you are yourself. Then, as you approach real mastery, the effect will actually be the opposite – since tango is easy for you, you will assume that it is easy for the rest of the crowd as well.

Now, that brings us to an interesting challenge for tango teachers. Many of them are naturally in the top quartile, so what if they do not really understand just how difficult tango is for their students?

For the not-as-skilled social dancers, the challenge will be a different one: the effect might cause frustration, e.g. if they go to a high-level dancing event, say El Yeite in Buenos Aires, since they will tend to think that they are at par with the general level of the place, but people are perhaps still reluctant to dance with them – which is then easily taken more personally.

On a deeper level, we can speculate about why our minds are twisted in this way. My guess is that the Dunning-Kruger effect is there to help us keep up the spirit when learning new things, rather than just giving up after the first attempt.

If tango beginners truly understood how little they learned after one class, would they at all feel like making the necessary investment for getting up to the general level of the community?

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Of course, after just a few classes, they are usually already much better tango dancers than most of the people who never took a class, and they will quickly achieve a level where many experienced dancers will enjoy dancing with them at milongas. It is just that most dimensions of the dance, beyond “taking a few steps without crushing someone’s foot”, will remain hidden from them for a while.

When you look at yourself in the mirror, are you blissfully boosting your tango skills above your actual level? No? Well, I didn’t think so: this is all based on statistics, so you may very well be the odd exception, but still, isn’t it a fun fact to know that most of your dancing friends are hopelessly unable to accurately assess their own tango skills? 😉

References:

The ABCD of Tango

The ABCD of Tango is a proposed model for teaching all essential parts of tango. The idea is that in each and every tango class, students should practice and develop all of the following 4 dimensions:

  • Tango Attitude
  • Tango Body
  • Tango Creativity
  • Tango Dance

These tango dancer dimensions result from gathering a large number of qualities for good dancers, organizing the qualities into clusters and finally selecting the most essential ones. Consequently, the starting point for this model is what skills students need, as opposed to e.g. what is easier to teach or what is easier to evaluate.

The advantage of using a model such as this is that it reminds you to spend teaching time on several important aspects of tango, that could sometimes be left out in a less structured approach.

Tango Attitude
Attitude is the first dimension, because it will affect everything else. This includes how to take and give advice in classes. Trying to improve oneself before one’s partner. Ability to relax and enjoy. Level of commitment. How you invite people to dance and who you accept to dance with. Making an effort to become more attractive as a dance partner. Ability to see the good in yourself and in others. An important part of Attitude is that it includes the self-image of the student. In my view, the teacher should make sure that when students leave a class they feel better about themselves as dancers and as persons.

Tango Body

Managing your own Body well is an excellent way to make it more pleasant to dance with a partner. Body awareness and balance are essential. Posture and quality of movement. A smooth walk. Toning the right muscles and relax others. Breathing. Dancing in a way that is healthy for the body. All of this is often addressed specifically in technique classes.

Tango Creativity
The Creativity dimension is what makes tango an art form and not just bodies moving around randomly. It includes musicality, with components such as rhythmic play, phrasing and understanding the structure of tango music. It also includes having a variety of steps and figures to choose from, as well as other ways to create variation in the dance, such as using different aesthetics in movement or different emotional expressions.

Tango Dance
The Dance dimension is basically what most people expect to learn in a tango class, and includes much of what distinguishes tango from other dances. Walking together in an embrace. Typical tango figures such as the giro and the cross. A firm and comfortable physical contact. Flexibility of the embrace. Sensitivity and presence. The fine tuned communication of leading and following. Also, how to move on a crowded dance floor.

ABCD-Athletic
The proposal is to make sure that each class includes all 4 dimensions. Even if there’s a specific theme in the class, such as “common rhythms in tango”, the teacher would still include how this relates to the Dance, e.g. through practicing these rhythms in some of the common tango figures.

I suppose that if any of the 4 dimensions seems surprising it would be Attitude. But think about how much attitude can affect both the ability to learn and the whole tango experience! Also remember that attitude is always transmitted from teacher to student, through words and behaviour – but by doing it consciously your students will get more out of their tango.