Tango Moves
Raymond Lauzzana
Last quarter, we discussed standing, finding your axis, and centering your weight on your axis. Before we can start to walk, we need to know where we are going. For the tango, there is a traditional structure to the dance floor. Dancers must understand this structure, even if they are going to violate it. As with all art forms, you need to know the rules if you are going to break them. The tango dancefloor rules are an etiquette designed to provide an smooth environment for dancing with a minimum of collisions and accidents.
Line of Dance( Alineación) Dancer’ s follow a counter clockwise movement around the dance floor, forming a ring. On larger dance floors, there may be two rings. The leader needs to be very conscious of the dancers in front and behind him. Movement around the floor is rather slow. On large floors, a couple rarely completes a full cycle. Do not tailgate or crowd the couple in front.
The Ring( La Ronde) An imaginary line around the perimeter of the dance floor. The dancers follow this line in a counter clockwise manner. In large ballrooms, there may be two ronde, an inner and outer ring.
The Center( El Centro) The center is reserved for Spot and Slot dancing in which the dancers dance within circles or slots that do not travel around the floor. The center is dominated by more experienced dancers. It should be avoided by novices. In practicas, the center is used for demonstrations and instructions.
The Corner( El Rincón) The corner of the dance floor provides an opportunity for dancers to leave the ronde, The four corners of the dance floor are the‘ sweet spots’ for circular or rotational spot dancing and pauses. This practice is not understood in all parts of the world. So, if traffic builds up behind you, its probably best to move on. In some milongas, etiquette calls for moving to the corner, out of the line of dance to permit, tail-gaiters to pass. However, this in not always true. You’ ll need to experiment.
Inside the Line of Dance( a Dentro) The leader is walking inside the line of dance when he is to the left of the follower, towards the center of the ronde. This is the most common place for the leader to walk other than directly in-line.
Reverse the Line of Dance( a Reverso) The couple is walking in reverse of the line of dance when they move in a clockwise direction. This should be done only rarely, and then with great caution. The leader needs to prepare for movement in the reverse direction by establishing the space for the reversal prior to reversed movement.
Six Step Beginning( Salidas Traditional) The traditional six step start is not described here. There are a great many places that you can find this step sequence described. It may be useful to know. But, it can become very restrictive if dancers adopt it as dogma. This article approaches the salida from the point of view of possibilities, to expose the options that the leader has for the beginning of the dance.
The Prelude( Preludio) Dancers frequently delay their forward movement until after the prelude, when the first verse begins. This permits the dancers to absorb the rhythm and melody of the music prioe to taking their first step. Leaders may express their interpretation of the music by shifting their weight in time to the rhythm, melody or even the phrasing of a particular instrument. This gives the follower a sense how the song will be danced, and the leader’ s sense of the song.
Outside the Line of Dance( a Fuera) The leader is is said to be walking outside the line of dance when he is to the right of the follower, on the periphery. of the ronde Some people call this the dark side because it is used less frequently.
The Start( Salida) It may seem strange the the start is called a salida. The term usually means exit. But in this case and in the case of musi, c it means departure- the point at which you begin your journey.
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