8. THE TANGO

The Tango originated in Argentina, became famous in France, and reached tremendous popularity in the United States in the early twenties, then suddenly it was dropped, possibly because of the fact that it was a difficult and complicated dance. In the past few years it has made a steady comeback, due primarily to the simplification of some of the more intricate steps. Dancing teachers have standardized many of the basic steps, and the Tango is now one of the most popular dances in this country.

The rhythm of the Tango does not differ greatly from the rhythm of the Fox Trot. The music, however, is played at a slower tempo than most Fox Trots. The instru­mentation of the music accents the string instruments, whereas in the Fox Trot the wind instruments—saxophones, clarinets and trumpets usually predominate. This dance has been called the dance of love, and certainly the mood and atmosphere of the music has a most romantic flavor. The rhythm is variable, made up of both slow and quick steps. The various individual step combinations employ either perfect-measure phrasing or intermeasure phrasing. However, most of the steps are perfectly phrased.

The two movements that characterize the Tango are:

1.   The Side Step to the boy's right—girl's left, followed by a drawin  of the free
foot. This drawing does not take the body weight.

2.   The shoulders move in opposition to the feet in an exaggerated degree. When the
left foot steps forward, the right shoulder should swing forward. When the right foot steps forward, the left shoulder moves forward. This is really a natural movement for we walk that way without thinking about it. When walking, a person allows his arms to swing in opposition to his feet—his right arm swinging slightly forward as his left foot steps forward.

The first three steps described in the following pages are by far the most important. Thoroughly master these before attempting the more intricate steps. The first three steps are described in the following rhythm:

1

2

3

and

4

After you have become more skillful, both with your foot-work and your ability to lead, do the same step in a slightly different rhythm as expressed in the following line:

1

2

3

and

4

This rhythm allows your draw-in to be executed slowly. The slow draw-in was more prominent a few years ago. In some sections of the country the quick draw-in is more in vogue now. The skillful Tango dancer, however, should change from a quick draw-in to a slow draw-in, depending on his mood and the accompanying music.

TANGO STEP NO. 1: PROM-E-NADE
BOY'S PART:

Forward—L	Forward—R	Forward—L	Side—R	Draw-in—L
1	2	3	and	4

GIRL'S PART:

Backward—R	Backward—L	Backward—R	Side—L	Draw-in—R
1	2	3	and	4

This step should be executed in closed position. The side step to the boy's right and the girl's left should approximate a ninety degree angle from the original line of direction. It's fun to do this step, making your movements smooth and cat-like. Keep your partner directly in front of you through the step. After you are quite skillful with this, try the same step with a slight variation, as described below:

TANGO STEP NO. 1 WITH VARIATION

BOY'S PART:

Forward—L	Diag. Cross Front—R	Diag. Cross Front—L	L   Side—R	Draw-in—L
1	2	3	and	4

GIRL'S PART:   Girl does step number one, while boy does the variation.

When the boy dances this step with a partner he can readily see that the diagonal Cross Front on Step 2 takes him to a parallel body position. He moves over to the right side of his partner. The following step, which is a diagonal Cross Front in the other direction, takes him back in front of his partner for the closed position. It is more fun to do this step while keeping the upper part of the body close to your partner. As your right foot steps over in front of your left, the lower part of your body moves to the side of your partner.

TANGO Turning The  Prom-e-nade

BOY'S PART:

Start in SIDE POSITION—moving to left:

Side—L	Cross Front—R	Side—L Toe Out*	L   Side—R	Draw-in—L
1	2	3	and	4

* Starts a LEFT TURN. When the right foot moves to the side of the left foot on the following "and" count, the dancer should be facing in the opposite direction from starting position. For neat and exacting footwork, practice this in a straight line.

Step No. 3 should be slightly shorter than the two preceding steps in order that the girl may more easily execute her part of the turn.

(* Boy starts leading girl into turn immediately after Count 2.)

GIRL'S PART:

Start in SIDE POSITION—moving to Right:

Side—R	Cross Front—L	Side—R Toe Out*	Side—L	Draw-in—R
1	2	3	and	4

(* Turning the right toe in on Step No. 3 will start a left turn. Make this step slightly longer than the two preceding steps.)

TANGO FLARE-OUT (Girl turns out and swirls back in)

	`

BOY'S PART:

Side—L	Cross Front—R	Side—L	Side—R	Draw-in—R
1	2	3	and	4
Diag. Forward—L	Cross Front—R	Side—L Toe Out 90°	Side—R	R    Draw-in—L
5	6	7	And	8

NOTE: On the "and" count, after Count No. 3, boy steps to right away from girl, while girl turns across in front of him, ending her turn as shown in Picture No. 4, below. Then, after Count No. 5, both partners must swirl as they Cross Front from Count No. 6.
GIRL'S PART

Side—R	Cross Front—L Pivot turn—L	Side—R Toe In 90°	Side—L	Draw-in—R
1	2	3	and	4
Diag. Forward—R	Cross Front—L	Side—R Toe In 90°	Side—L	Draw-in—R
5	6	7	And	8

TANGO SHOULDER MOVEMENT

In the Tango the shoulders should move in the opposite direction from the feet. This rule need not be observed in every Tango step, however, it should be used occa­sionally during the Tango in order to portray the real character of the dance.

In the dip, as the boy steps backward on his left foot, he should move his left shoulder and arm forward. This should be done only slightly at first until the dancer feels perfectly at ease with this counter motion. The girl does not consciously move her shoulders, but merely allows herself to be led into the motion.   Here the boy steps forward on his left foot as the girl steps backward on her right. This is a straight step, but notice that the boy's right shoulder is forward. Now, as the boy steps forward with his right foot, observe that his left shoulder begins to move for­ward.   The student should learn the footwork first before attempting this advanced styling of shoulders moving in opposition. The boy should practice this alone until the movement becomes natural and easy for him before attempting to lead his partner through it. The slower the Tango the better it lends itself to this style.

TANGO ROCKING STEP Using Corte or Dip

Forward—L	In place—R	Back—L*	In place—R
1	and	2	3
Forward—L	In place—R	Back—L*	In place—R
4	And	5	6
Forward—L	In place—R	Draw-in—L
7	And	8

* Dip: Bend left knee as it takes body weight. Straighten right knee.

Note here right foot remains in place from the beginning of the step through Count 6.

TANGO   (Parallel Swirl)

This step is similar to the CORTE, or Dip Step, previously described. On the long count of number two, instead of doing a Corte, the boy moves his right foot backward, out of the way, and leads the girl into a Swirl. Repeat the step, as described below, two complete times. This brings count to six, then do FORWARD, SIDE, DRAW-IN for Counts 7 and 8 respectively.

BOY'S PART:

Forward—L Front	In place—R	Back—L	Swing Right Back	Diagonal Cross
			No Weight Shift	Right

GIRL'S PART:

Back—R	In place—L	Diagonal Cross Front	Swirls Left	Diagonal
		Right		Cross Front Left

TANGO DOUBLE ROCKING STEP
BOY'S PART:

Forward—L	In place—R	Back—L	Back—R	In place—L	Forward—R
1	And	2	3	And	4
Forward—L	In place—R	Back—L	Back—R	Side—L	Draw-in—R
5	And	6	7	And	8

You are now standing with your weight on your left foot and you have just executed a draw-in with the right foot. This is an unusual movement because in all the other Tango steps here described your draw-in is executed with your left foot. In order to keep your partner from shifting her weight to her left foot, you must hold her quite firmly and exaggerate the movement of your draw-in. You are ready now to step back on your right foot and continue the entire step in reverse, thus:

Back—R	In place—L	Forward—R	Forward—L	In place—L	Forward—R
1	And	2	3	And	4
Forward—L	In place—L	Forward—R	Forward—L	Side—R	Draw-in—L
5	And	6	7	And	8

DOUBLE ROCKING STEP

GIRL'S PART:

Back—R	In place—L	Forward—R	Forward—L	In place—R	Back—L
1	And	2	3	And	4
Back—R	In place—L	Forward—R	Forward—L	Side—R	Draw-in—L
5	And	6	7	And	8

Girls, this is an unusual movement for you because you have just executed a draw-in with your left foot, whereas in all the other steps here described in the Tango, the draw-in is executed on the right foot. You should have no difficulty with this, however, if you practice it as a solo for a few times before attempting it with a partner. If your partner leads you properly he will hold you firmly as soon as you have executed the side step to your right, so that you will not shift your weight on the draw-in that comes on your left foot. You are now ready to step forward on your left foot as your partner leads you in a direction toward him, thus:

Forward—L	In place—R	Back—L —R	Back—R	In place—L	Forward—R
1	And	2	3	And	4
Forward—L	In place—R	Back—L	Back—R	Side—L	Draw-in—R
5	And	6	7	And	8

SWIRL FOOT TANGO

This step employs the swirl, and its footwork makes it one of the most intricate steps in the Tan­go. The boy must lead the girl into the Cross Back and the Cross Front. He must also lead her into the change of direction, as she enters the swirl, and he must do it while he himself is doing the swirl. It should be practiced thoroughly as a solo be­fore attempting it with a partner. The entire step continues to a count of eight and requires four measures of music.

Side—L		Cross Front—R	Side—L	Cross Back—R	Swirl—L
1		2	And	3	4
Side—R	Cross Front—L	Swirl—R	Side—L Toe Out*	Side—R	Draw-in—L
and	5	6	and	7	8

(* Turn left and close your body position with your partner.)

TANGO—CORTE or DIP in SIDE POSITION

In this step, the boy does the Corte by bending his right knee as the girl bends her left knee. It must be executed from a side position and should never be too deep.

BOY'S PART:

Dip by bending R knee at same time           Come out of Dip by straightening R swirl L foot to back, but retain weight         knee, at same time Draw-in—L foot, on R foot.
4	5

GIRL'S PART:

Dip by bending L knee at same time                Come out of Dip by straightening L swirl R foot to back, but retain weight              knee, at same time Draw-in—R foot, on L foot.
4	5

To keep this step perfectly phrased with the music the boy should now step Forward-L, Side-R, Draw-in-L for Counts 6, 7, 8. Girl steps Back-R, Side-L, Draw-in-R.

CONTINUOUS SWIRLS AS USED IN THE TANGO

This is a step frequently used by advanced dancers in the Tango. It is a continuation of swirls in which the foot moves from a forward position to a diagonally Cross Back position. While the foot is in motion it should not leave the floor, but should describe a circle as shown in diagrams below. At the end of each swirl there is a shift of weight. The foot that supports the body weight should do an approximately ninety degree pivot turn, while the swirl on the other foot is in progress.

BOY'S PART:

From a slightly open position, point the left foot diagonally forward with no body weight, as shown in Figure 1.

Lead your partner toward you as you swirl your left foot around and cross it diag­onally behind the other foot (Figure 2). Be sure to pivot turn to the right while the swirl is in progress.

After your weight comes to the left foot start the swirl with your right foot, swinging it around into a diagonal Cross Front position as shown in Figure 3. While doing this be sure to pivot turn to the right on your left foot. Continue in this manner until you have executed this swirl six times. On the last swirl your weight should be back on your right foot, as the count reaches six. Then step forward on your left foot for rhythmic count seven, to the side on your right foot for the rhythmic count "and," draw-in left foot for count eight.

GIRL'S PART:

From a slightly open position, follow your partner by pointing your right toe to the side. Then, as your partner leads you into a Cross Front position you step your right foot diagonally Cross Front as shown in Figure 2. When your right foot takes the body weight, swirl your left foot forward to a diagonally Cross Front position (Figure 3). While the swirl is in progress, pivot turn about 90° to the right, on your right foot. Continue in this manner until you have executed six swirls. The foot that supports the body weight must pivot on each swirl, and on each turn the foot pivots in the direction which makes the toe turn outside—that is, when your weight is on the left foot, you always pivot to the left—when your weight is on the right foot you always pivot to the right. At the end of the six swirls your weight should be on your left foot, which is diagonally Cross Front, and your rhythmic count has reached Count 6. Then step Back-R, Side-L, Draw-in-R for Counts 7, "and," 8 respectively.

THE SPANISH DIP

The Spanish Dip is frequently used by skilled dancers in the Tango and also in the slow Fox Trot. It can be used in varying degrees. As boy steps back on his left foot, girl steps forward on her right foot, her foot must be on the inside of this foot. From this position boy begins to lead the girl into a Corte. Then the boy turns his right shoulder across and downward as he bends his left knee. While doing this, he pivot turns to the left on the balls of both feet. The girl pivot turns to the left on her right foot, and then she lifts her left foot off the floor as she bends her right knee. The boy begins to straighten his body from the waist as the girl goes backward into the dip. The boy must lean backward away from the girl in order to maintain his balance. The girl's left hand moves from a position on the boy's shoulder to a position about half-way down his arm as their body positions become further apart.

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