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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