Takes Two to Tango: Learning Argentine Tango

LEARNING ARGENTINE TANGO | KEN SPENCER BROWN

Takes Two To Tango

Publication and copyright information

Takes Two To Tango: Learning Argentine Tango

© 2008 by Ken Spencer Brown ([email protected])

Printed June 25, 2008

Illustrations © 2008 by Andrea Maschietto, except where noted

Cover photo by Fabrizio

Page 5 photo by unknown photographer (in public domain)

Page 13 photo © 2007 by Tim Haley

Document produced in Microsoft Word 2007

Illustrations produced in Macromedia (now Adobe) Freehand 10

Table of Contents

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CONTENTS

GETTING STARTED .................................................................................................. 5

History ............................................................................................................... 5

What You Need .................................................................................................. 7

Music ................................................................................................................. 7

SETTING A FOUNDATION ........................................................................................ 9

Posture ................................................................................................................... 9

Isolation .................................................................................................................. 9

The Collect Posision .............................................................................................. 11

The Classic Pose .................................................................................................... 11

WORKING WITH A PARTNER ..................................................................................13

The Embrace ......................................................................................................... 13

The Leader’s Role ................................................................................................. 14

The Follower’s Role .............................................................................................. 15

The Line of Dance ................................................................................................. 17

TAKING YOUR FIRST STEPS .....................................................................................19

Parallel System ..................................................................................................... 19

Outside Parallel System ........................................................................................ 20

Cross System to Open Side of Embrace ................................................................ 20

Cross System to Closed Side of Embrace .............................................................. 21

Learning Argentine Tango

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CHANGING SYSTEMS ..............................................................................................23

Outside Parallel to Parallel ................................................................................... 23

Parallel to Cross on Closed Side of Embrace ........................................................ 24

Cross on Closed Side of Embrace to Parallel ........................................................ 24

ADDING TO THE REPERTOIRE .................................................................................25

Step and Collect .................................................................................................... 25

Basic Side Step ...................................................................................................... 25

Backward Ocho ................................................................................................... 255

Two Check Steps ................................................................................................... 27

PUTTING THE PIECES TOGETHER ............................................................................29

Entries and Exits ................................................................................................... 29

Backward Ocho: Different Exits ............................................................................ 29

Backward Ocho: Different Entries ........................................................................ 30

TROUBLESHOOTING ...............................................................................................31

GLOSSARY OF TERMS .............................................................................................33

INDEX .....................................................................................................................35

Getting Started

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GETTING STARTED Learning Argentine-style Tango can be a fun and romantic way to stay

active, socialize and expand your cultural horizons. Though rich with history

and complex enough to offer a lifetime of learning, getting started doesn’t

take long. With Tango, just about anyone can have fun on the dance floor!

Here’s an overview of the Argentine Tango’s development and what you’ll

need to prepare yourself to participate in his culturally rewarding activity.

History By learning Argentine Tango, you are carrying

on a rich tradition of dance and culture.

Argentine Tango is the earliest and purest

form of Tango. It sprang from the urban

centers of late 19th-century Argentina, where

working-class residents blended the formal

steps of ballroom dancing with the stop-and-go

rhythms of the country’s African slaves.

Argentine Tango’s most distinctive feature is

the close embrace of each partner. Tango’s

constantly shifting rhythms and spontaneous

movement required partners to stand very

close so that the follower could sense the

leader’s movement and react quickly. Unbound

by the rigid social mores of the upper class,

working-class Argentines were happy to oblige.

As Buenos Aires blossomed in the early 20th

century, trendsetting Parisian tourists

“discovered” the dance and made it popular

throughout Europe. Only then did Argentina’s

upper class finally grow to accept Tango.

Later iterations, which became known as simply “the Tango,” represent a

more standardized, tamer version of the original.

Today, Argentine Tango remains a popular dance style, thanks in large part

to its improvisational nature and romantic embrace. By learning a few

fundamental concepts, getting in sync with a partner and memorizing a few

steps, you will join millions of other Argentine Tango fans around the globe.

Take Two To Tango

Photo 1: Argentine Tango’s first international celebrities: Ovidio José Bianquet, also known as “El Cachafaz,” and his longtime dance partner Carmencita Calderón.


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Getting Started

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What You Need Argentine Tango requires no special equipment, but wearing comfortable

clothes and flat-bottomed shoes that allow easy movement across the floor

are key to your comfort and safety. For men, leather and suede make good

footwear choices, as long as the shoes do not slip off easily. Women’s shoes

should have straps. Heels may help women maintain proper posture.

Clothing should allow free movement of both legs. Long skirts and dresses

worn in formal dances should have a slit to allow the legs to move.

For a dance-floor surface, a smooth material such as wood or tile works best

because of Argentine Tango’s frequent pivots.

Argentine Tango is not physically demanding. But if you plan to dance for

long periods, have plenty of water handy — Argentine Tango can be highly

addictive!

Music You can dance Argentine Tango to just about any kind of music with a beat.

But you may want to consider some Tango music to get you and your dancing

partner in the mood.

Argentine Tango music falls into four main categories with a variety of styles

sure to fit any mood:

Traditional Tangos. The classic Tangos you hear in movies. The term

encompasses a wide range of music in a variety of tempos and styles.

Vales. Argentine waltzes. They sound much like other types of waltz,

music known for its slow 1-2-3 beat.

Milongas. Livelier than other types of tango music, known for their steady

beat. The term also refers to a Tango dance party.

Nuevo Tango. Not strictly Tango, but synchronizes Tango beats to modern

music.

Generally, classic Tango is easiest for beginners to dance to. You can

purchase them for download from iTunes or Amazon.com’s MP3 store or find

them on Tango compilation CDs.

Here are a few classics to get you started:

“La Cumparsita,” Francisco Canaro. Probably the most famous Tango in

the world.


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“Por Una Cabeza,” Carlos Gardel. Another famous Tango that you have

probably heard in a movie or two.

“Desde el Alma,” Osvaldo Pugliese. One of the most famous Tango valses.

“Palomito Blanca,” Hugo Diaz. A more modern iteration of a Tango vals.

“Flor de Montserrat,” Rudolfo Biagi. A nice milonga piece.

“Ella Es Asi,” Donato. Another good milonga song.

Fundamental Concepts

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SETTING A FOUNDATION Before outlining specific steps and moves, you should become familiar with a

few basic concepts that serve as the foundation to everything else you do in

Argentine Tango.

Tango offers plenty of opportunity for improvisation and self-expression, but

requires correct posture and clean isolation of the body’s two hemispheres.

Posture Argentine Tango starts with proper posture. Maintaining good posture helps

you keep your balance as you move across the dance floor and minimize

strain. Posture is also key to maintaining Argentine Tango’s distinctive

embrace.

A leader’s good posture allows the follower to read the lead more clearly; good

posture in a follower allows the leader to better sense and identify the

follower’s axis. This in turn, helps the leader lead more effectively.

Whether you are leading or following, lean inward from the waist slightly,

keeping your back straight. With a few rare exceptions, never lean

backwards. In addition to being bad form, leaning backwards could cause you

to lose balance or step on your partner’s feet.

Figure 1: Correct vs. incorrect posture

Isolation Tango often requires your upper half of the body to move independently from

the lower half — you often have to rotate your torso in one direction while

your feet and hips move the opposite way. This concept is called isolation.


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Two ways in which the concept of isolation manifests itself in Argentine

Tango are in basic rotation and contra-body motion.

Basic Rotation Rotating requires moving your entire torso, not just your arms — especially

for the leader. If the follower is paying attention and keeping the chest facing

the leader’s, most basic dance moves require only the lightest force from the

leader’s arms.

Figure 2: Rotation, correct and incorrect

Contra-body Motion Sometimes, your torso must move in one direction while your

feet move in another. This is necessary in some moves to

continue facing your partner.

Here’s a typical example of contra-body motion. Notice that the

legs and feet are moving independently of the torso.

Figure 3: Contra-body motion

Note: In a proper

rotation, the legs do not pivot.

Fundamental Concepts


The Collect Position The collect position is one of Argentine Tango’s most basic — and

most important — concepts. Every move the leader makes in

Tango ends or travels through the position. Likewise, the

follower is almost always moving to or from the position.

Fortunately, the collect position is easy. To position yourself in

the pose, put both heels together and spread the feet out in a

slight “V” shape.

The Classic Pose The classic pose involves starting with the left foot forward.

Many tango steps start in this pose, especially when

transitioning from another move.

Figure 5: Classic pose

Figure 4: Collect position

Working With a Partner


WORKING WITH A PARTNER Now that you have learned the basic concepts around posture and movement,

find a partner. The old saying is true: “It takes two to Tango!”

Whether you are the leader or follower, you need to learn your role in the

dance and how to interact with your partner.

The Embrace One of Argentine Tango’s distinctive features is the

embrace. When both partners are maintaining

proper posture, the top halves of their bodies

remain closer — touching most of the time — than

the bottom half. The embrace roughly resembles a

narrow letter “A” shape.

Tango is not a standardized dance, so there is no

single way to embrace. The only firm rule is that

the embrace must be comfortable for both leader

and follower.

To form a typical Tango embrace:

1. Stand chest to chest in front of your partner.

The leader and follower can stand a bit to the

right of their partner to slightly offset one

another.

2. Lean slightly forward until your chest is touching your partner’s. Leave

some space between the leader’s and follower’s feet, spreading out

downward from the chest.

3. Form the closed side of the embrace.

Wrap your right arm around your follower’s torso, toward the

person’s right shoulder blade.

Place your left arm over the leader’s right shoulder.

Photo 2: A typical embrace

Symbol key:

Instructions for leaders

Instructions for followers



Figure 6: A typical embrace, as viewed from the closed side of the embrace

4. Form the open side of the embrace.

Bend your left elbow and hold your partner’s right hand with your

left hand at cheek level, about two feet away from the face. The back

of your left hand should face outward.

Mirror the leader — with your right elbow bent and back of the hand

facing away, hold the leader’s left hand.

The Leader’s Role The leader directs the dance, guiding partner firmly but as gently as possible.

Since the follower moves backwards frequently, the leader is responsible for

steering clear of obstacles and other couples.

The leader must think for both partners — knowing how the follower should

respond makes for a better leader. And a good leader makes it easy for the

follower to follow

To guide the follower, lead with your chest, gently pushing with your arms.

Things for the leader to keep in mind To become a confident, sensitive leader:

Protect your follower. Always be aware of the dangers lurking on the

dance floor, such as reckless couples and objects on the floor.

Figure 7: A typical embrace, as viewed from above

Note: You’ll need to

know the open and closed sides of the embrace for many other

Tango moves.



Be gentle but firm. Be clear with your lead, but use as little force as

possible. The goal is to hold the follower as you would a baby: firm enough

to protect but gentle enough to sooth.

Move with confidence. If you start a move, follow through unless it’s

unsafe to do so. Changing your mind halfway through a move is not only

annoying — it is a quick way to step on your follower’s toes.

Move with the music, but don’t be a slave to it. Unlike standard ballroom

dancing, Argentine Tango allows for a wide range of move and tempos. If

the music is too fast, step on every other beat instead of every beat. If the

floor is too crowded — or you are feeling romantic — forgo the footwork

altogether and just rock your partner back and forth.

The Follower’s Role The follower’s role in Tango is to watch the leader’s body language for subtle

cues on when and where to move and respond appropriately to that lead.

Although beginning followers do not need to know any specific steps — in

some ways, not knowing is better — a few basic guidelines will keep both

partners in harmony.

Things for the follower to keep in mind To keep you in sync with your partner and follow the lead correctly:

With the exception of a few advanced moves, keep your chest facing your

leader’s, no matter where your feet go.

Make this as easy as possible for the follower by moving slowly and

leading with the chest.

At all times, one foot is planted while the other is free to move. Rarely

divide your weight equally between both feet. Instead, shift your weight

from one foot to the other, moving from collect position to collection

position as the leader guides you.

As the leader guides you, let your feet move where it feels most natural.

Let your free foot move naturally to support your body in its new position

on the dance floor. Sometimes, this means crossing the free foot behind the

fixed foot.

At the start of the dance, assume the follower’s right foot is the free

one. That means your left foot should be the first to move.



Graze the floor whenever possible. Though you may see professional tango

dancers lift their feet high in flamboyant arches, this is not helpful for

beginning Argentine Tango dancers.

A typical step for the follower You can follow effectively in Argentine Tango without knowing specific steps.

But seeing how a typical step progresses might make the your first attempts

on the dance floor easier.

Here’s how to enter the parallel walking system from the follower’s point of

view. (The parallel system is a common way of moving across the dance floor.

The leader’s instructions for this step come later.)

As in every tango step, the follower should not try to anticipate the leader’s

moves, but move only when and where the leader directs.

To enter the parallel walking system

1. Start in the collect position.

2. As the leader’s right foot moves toward you, take a step back

with your right (free) foot. Your left foot should stay in place

for now.

3. Shift your weight to right foot. The shift frees up your left foot.

4. As the leader’s right foot moves toward you, slide your left foot

back to the collect position.

5. Shift your weight to the left foot. This shift frees up your right

foot.

Figure 8: A step from the follower's perspective.



THE LINE OF DANCE Argentine Tango is a “traveling” dance, which means that you and your

partner are expected to move around the dance floor. Traveling around a

crowded dance floor can get dangerous unless everyone follows certain rules.

In Argentine Tango, these rules are called the line of dance.

Figure 9: The line of dance. Note: the red line is not following the line of dance.

By tradition, Argentine Tango dancers travel the dance floor in a

counterclockwise direction. To minimize the chances of colliding with other

dancers, couples move along invisible lanes. Which lane you choose doesn’t

matter — as long as you stay in it!

Any combination or pattern you execute on the dance floor should not take

you or your partner far out of your lane, nor should they cause you to violate

any of the basic rules of navigation on the dance floor.

You may find that traveling the dance floor is a bit like driving down a

highway. Here are a few things to keep in mind when you tango:

Go with the flow of traffic.

Avoid cutting across lanes unnecessarily.



Avoid weaving around.

Watch your surroundings. Protect yourself and your partner from novice

or careless dancers who aren’t following the line of dance.

Avoid talking on the dance floor. All communication in tango should be

done with your body.

Dance steps you know. You go to dances to dance, not to practice. Unless

you’re in a class or a practica (time set aside for practicing), keep moving.

Taking Your First Steps


TAKING YOUR FIRST STEPS Now that you and your partner have learned some of Argentine Tango’s

foundational basics, you are ready to start stepping out.

Think of Tango as a kind of Legos, with basic building blocks you can mix and

match in endless combinations. By mixing a few walking systems with a few

basic moves —connected by the collect position — you can look like a pro in

no time.

Argentine Tango has four major “systems” of walking across the dance floor:

Parallel System

Outside Parallel System

Cross System to the Open Side of the Embrace

Cross System to the Closed Side of the Embrace.

In each of these walking systems, the leader imagines two, three or four

tracks to guide the feet. The beginning follower does not have to worry about

what system the leader is using; though the positions might change as both

partners keep their chests parallel, the follower simply walks backward

following the leader’s guiding push.

Once you’ve entered any of the four systems, continuing movement is easy —

just keep walking, putting one foot in front (or in the follower’s case, behind)

the other.

Parallel System In the parallel system, the leader imagines two imaginary

tracks that line up with the follower’s feet. Both partners’

chests face forward, with the leader’s right foot directly in

front of the follower’s left foot, and the leader’s left foot directly

in front of the follower’s right foot.

To begin walking in the parallel system:


2. Step forward with your left foot.



Outside Parallel System The outside parallel system is similar to the parallel system you just learned,

only the leader walks to the side of — not in front of — the follower. Instead

of imagining two tracks, the leader should imagine four tracks: two for the

leader and two for the follower. The leader can walk on either side of the

follower, so long as their chests continue to face one another.

To begin walking via the outside parallel system:


2. With your left foot, step left to the 9 o’clock position.

Keep your torso facing forward.

3. Slide your right foot left until you reached the

collection position again.

4. Continuing the motion, step forward with your right

foot. This step will move you to the left of the follower

(the follower’s right side).

5. Step forward and continue walking.

Like the original parallel system you learned, your feet will mirror

the leader’s. As the leader’s left foot moves forward, move your right

foot back in unison.

Cross System to Open Side of Embrace “Cross system” involves the follower and leader walking so that their feet

mirror each other — when the leader moves the right foot, so does the

follower. The open side of the embrace is the side where the leader and

follower touch hands — typically, the leader’s left side and the follower’s

right.

The leader should imagine three tracks; the leader’s right foot shares the

same track as the follower’s right foot, but the leader’s right foot has its own

track.

Note: Positions on the

clock refer to positions relative

to the line of dance — the

general direction you’re moving

on the dance floor — not

necessarily your orientation at

any given moment.

Taking Your First Steps


To begin walking the cross system to the open side of the embrace:


2. Step forward with your right foot while rotating your torso clockwise to

the 1 o’clock position.

Nothing much changes for you, except the position of your chest. As

the leader rotates to the 1 o’clock position, keep your chest parallel,

meaning you’ll face the 7 o’clock position (from the perspective of the

line of dance).

Cross System to Closed Side of Embrace The cross system to the open side of the embrace is similar to the previous

walking system, only the leader walks on the other side of the leader — in

this case, the closed side of the embrace, where the leader’s arm wraps

around the follower. Traditionally, this is the leader’s right side and the

follower’s left.

Again, the leader should imagine three tracks. The leader’s left foot shares

the same track as the follower’s left foot, and the leader’s right foot has its

own track.

To begin walking the cross system to the closed side of the

embrace:


2. Rotate your torso counterclockwise to the 10

o’clock position. This step shifts your partner’s

weight to the right foot.

3. When the follower reaches the collect position,

step toward the 12 o’clock position with your

left foot. Keep your torso rotated in the 10

o’clock position.

Changing Systems


CHANGING SYSTEMS You could go on all night walking in any one of the systems you just learned.

But you — and your partner — would get bored quickly. That’s why most

Tango dancers change walking systems frequently when dancing.

All of the walking systems you learned begin in the collect position. So you

can start them at anytime you happen to be poised in the collect position.

But sometimes, you may prefer to move from one walking system directly

into another. Some of the most common switchovers involve changing from

the outside parallel system to the parallel system; from the parallel system to

the cross system on the closed side of the embrace; and from the cross system

on the closed side of the embrace to the parallel system.

Outside Parallel to Parallel To move from the outside parallel system to the parallel

system:

1. Start with your left foot forward. Walking from the

outside parallel system correctly should point your torso

in the 2 o’clock position.

2. Step forward with your right foot. Keep the torso in the 2

o’clock position.

3. Step forward with your left foot and rotate your torso

counterclockwise to the 12 o’clock position. The follower,

keeping the chest parallel with the leader’s, will now be

in front of the leader, positioned for the parallel system.



Parallel to Cross on Closed Side of Embrace To move from the parallel system to the cross system on the closed side of the

embrace:

1. Start with your left foot forward. Entering from the

parallel system points your torso toward the 12

o’clock position.

2. Shift your weight to the right foot.

3. Rotate your torso counterclockwise to the 10 o’clock

position and swing the left foot back to the collect

position. This guides the follower to your left side,

with the follower’s left leg free.

4. Continuing the motion from step No. 3, step with

your left foot to halfway between the 12 o’clock and 1

o’clock positions.

Cross on Closed Side of Embrace to Parallel To move from the cross system on the closed side of the embrace to the

parallel system:

1. Start with your left foot forward. The cross

system on the closed side of the embrace will

have pointed your torso toward the 12 o’clock

position.


3. Step back with the left foot — crossing it over

your right foot — and rotate your torso

clockwise to the 1 o’clock position.

4. With the left foot, step toward the 12 o’clock

position and rotate your torso to the 12 o’clock

position.

Adding to the Repertoire


ADDING TO THE REPERTORE You can do a lot just switching between the different walking systems. But

Argentine Tango has a handful of steps so basic they’re considered

fundamental to the dance. Here are a few of them.

Step and Collect The step and collect can be a handy way to steer yourself and your partner

counterclockwise. It begins and ends in the collect position.

To perform a step and collect:


2. Step forward with your left foot.



position while bringing your left foot back to the collect

position. The follower should rotate with the leader.

Basic Side Step The basic side step shifts you and your partner to the left. It also begins and

ends in the collect position.

To perform a basic side step:


2. Shift your weight to your right foot.

3. Step toward the 9 o’clock position with your left foot.

Taking direction from the leader, move in the same direction.

4. Move your right foot leftward to return to the collect position.

Backward Ocho The backward ocho gets its name from the figure-8 shape the follower makes

when the leader performs this step. While the step gets a bit more



complicated than previous steps for the leader, the follower need only move

the feet the direction that feels most natural, given the leader’s guidance.

To perform the Backward Ocho:

1. Start in the collect position

2. Shift your weight to the right foot. This step frees

up your left foot.

3. Step to the 9 o’clock position with your left foot.

4. Bring your right foot to the collect position.


position.

6. Step to the 9 o’clock position with your left foot.

7. Bring your right foot to the collect position; at the same time, rotate your

torso clockwise until it faces the 12 o’clock position.

8. Continue rotating your torso clockwise until it reaches the 1 o’clock

position.

9. Step to the 3 o’clock position with your right foot.

10. Bring your left foot to the collect position; at the same time, rotate your

torso counterclockwise to the 12 o’clock position.

Adding to the Repertoire


Two Check Steps A check step involves leading a follower in one direction,

and then back to the original position. Both of the

following check steps begin with the classic pose.

Simple Check Step To perform a simple check step:

1. From the classic pose, step back to the 7 o’clock

position with your left foot and rotate

counterclockwise.

Step No. 1 should cause you to step with your left

foot to the 7 o’clock position.

2. Step back to the 12 o’clock position with your left foot

while reversing your torso rotation (clockwise).

This step should cause you to step back with your

left foot to the 12 o’clock position.

Another Check Step To perform a different kind of check step:

1. From the classic pose, step forward to the 12 o’clock

position with the left foot.

2. Step to the 7 o’clock position with the right foot.

3. Step back to the collect position with the left foot.

4. Rotate your torso in the clockwise position. This will

rotate the follower around the planted foot.

5. Step to the 12 o’clock position with the left foot.

Note: When

performing a check step, both

leader and follower should

avoid shifting too much weight to the follower’s

free foot.

Putting the Pieces Together


PUTTING THE PIECES TOGETHER Now that you have learned the major walking systems and a few basic steps,

you can start putting the pieces together in basic combinations.

Entries and Exits Every step in tango has three parts:

The entry

The step’s essential element

The exit

Learning how to improvise in Tango requires paying particular attention to

the entry and exit of each step.

You can execute the same Tango elements with different entries and different

exits. And you can combine any step that exits with a particular walking

system with any other step that begins with the same walking system — just

like Lego building blocks.

Backward Ocho: Different Exits The backwards ocho makes a good example for using different entries and

exits.

The basic backward ocho includes three parts: An entry, the characteristic

element, and the exit:

Entry: (steps 1-2) A sidestep and rotation. The leader

performs a sidestep merely to take the follower’s

weight off the left leg and onto the right.

Element: (steps 3-7) Step 3 also starts a rotation,

which begins the backward ocho.

Exit (Steps 8-9) Step No. 8 starts the exit, which

takes you into the cross system to the open side of the

embrace.

You exit the Ocho into a cross system to the open side of

the embrace. So you can combine the Ocho with any other step you know that

starts with a Cross System to the Open Side of the Embrace.

Figure 10: Backward Ocho



Alternatve Exit

The leader can exit into the outside parallel system using

the same entry and element. But by stepping out of the

move with a different leg, you can exit the step into the

outside parallel system you learned earlier. Simply step

with your right foot (to the follower’s right side) on step

9.

Backward Ocho: Different Entries You’ve seen how easy it is to exit the backward ocho in

different ways. You can also enter the move using a variety of different steps.

In the Backward Ocho, the leader starts the Ocho with a sidestep to his left.

As noted before, this sidestep’s purpose was merely to get the follower’s

weight off of the left leg onto the right. You can enter the move in other ways.

Backward Ocho to Cross System on Open Side This is one way to enter an Ocho from a cross system to the

open side of the embrace:


position and step up with your left foot to the collect

position.

2. Follow steps from original backward ocho.

Back Ocho from Cross System on Closed Side This is one way to enter an Ocho from a cross system to the

closed side of the embrace:

1. Step to the 3 o’clock position with your right foot

while rotating your torso clockwise.

2. Bring your left foot to collect.

3. Follow steps from original backward ocho

Figure 11: Exiting the Backward Ocho into the Outside Parallel System

Troubleshooting


TROUBLESHOOTING Here are a few problems you might run into when learning Argentine Tango

and some possible solutions.

You keep stepping on your partner’s toes.

Chances are that the leader is stepping without first leading with the

chest or that the follower isn’t reading the leader’s signals correctly.

Solution: Lead more clearly. All of the leader’s signals should come from

the chest first, with the feet following slightly after. A natural delay will

exist between the time the leader signals a move and the follower reacts.

Solution: Follow more A good follow will not move until the leader’s signal

to the chest has become very clear. So delay your feet from moving until

after your chest has already started to move.

You keep bumping into other dancers.

Solution: stay within the line of dance. When on a crowded dance floor (or

even a not-so-crowded floor) you must obey rules of traffic navigation that

are very similar to rules of the road when driving. Go with the flow of

traffic, stay in your lane as much as possible, don’t go backwards, etc.

Solution: Watch out for other couples who may not be following the line of

dance.

You keep tripping or slipping.

Solution: Wear shoes that can glide on the dance floor but stay on your

feet. Slip-ons and strapless sandals do not work well for Argentine Tango.

Solution: Find a different dance floor. The floor should allow shoes to glide

but not slip.

You cannot keep up with the music.

Solution: wear loose clothing that doesn’t restrict your movement.

Long skirts should have slits.

Solution: Stop trying to hit every beat and instead hit every other

beat. Or better yet, work with your partner to find your own beat.

Glossary


GLOSSARY OF TERMS Argentine Tango: The original Tango, which originated among working-class

Argentineans in the late 1800s.

Classic pose: A common position in Argentine Tango. Involves having right

foot forward.

Collect position: One of the most common positions in Argentine tango.

Involved standing with feet together, spread out in a

V” shape.

Entry: The starting position of a given Tango step.

Exit: The ending position of a given Tango step.

Embrace: Argentine Tango’s distinctive hold, which places leader and

follower close to one another for better communication.

Essential Element: The defining characteristic of a given Tango step.

Follower: The partner who follows the direction of the leader. Traditionally a

woman.

Leader: The partner who directs the dance and guides the leader.

Traditionally a man.

Milonga: Tango music with a steady beat. Also refers to a tango dance party.

O’Clock (positions): Direction as they relate to positions on the clock. Twelve

o’clock represents the direction of the dance.

Nuevo Tango: Contemporary popular music infused with a tango beat.

Isolation: Concept of torso moving independently of the legs and feet.

Required by many Tango moves.

Line of dance: The rules for moving around the dance floor to avoid collisions.

Tango: Usually refers to a more formal type of ballroom tango that evolved

from Argentine Tango.

Vals: A waltz, known for its steady 1-2-3 beat.

Walking system: A way of moving across the dance floor. The four most

common walking systems are parallel system, outside parallel system, cross

system to the open side of the embrace and cross system to the closed side of

the embrace.



Index


INDEX backward ocho, 28, 31-32 basic side step, 27 changing systems, 25 check step, 29 classic pose, 13, 29 classic Tango, 9 closed side (of the embrace), 21, 23, 25 collect position, 13, 17-18, 21-23, 25, 26-29,

32 Contra-body Motion, 12 Cross System, 22-23 embrace, 7, 11, 15, 16, 21-23, 25-26, 31-32 entries, 31- 32 essential element, 31 exits, 31-32 follower, 7, 11-13, 15-18, 21- 23, 25-29, 31-

33 Isolation, 11, 35

leader, 7, 11, 12, 13, 15-18, 21-23, 25, 27-28, 31, 32-33

line of dance, 19-20, 23, 33 Milonga, 9 music, 9, 17, 33, 35 Nuevo Tango, 9, 35 open side (of the embrace), 16, 21- 23, 31,

32 Parallel System, 21-22, 25, 26, 32 Posture, 11 Roles of leader and follower, 17-18 Rotation

rotating, 12 Step and Collect, 27 Traditional tangos, 9 Vales, 9 walking systems, 21, 25, 27, 31, 35

Documents

Takes Two to Tango: Learning Argentine Tango