First, the traffic rules, to avoid collisions (especially if the dance floor is crowded)

  1. The line of dance is always counter-clockwise (a one-way street).
  2. There are two lanes (if the dance floor is big enough), an outside lane for fast moving dancers and a slower lane towards the center. Don't cut people off by changing lanes. Tango is not a race. If the couple in front of you slows down, do a rock step or simply pause elegantly until they speed up again. Be creative.
  3. Don't cut through the center of the room. (This is like driving a car across a median.)
  4. Don't move backwards. (You wouldn't suddenly throw your car into reverse!)
  5. Don't stand in the line of dance to talk or teach your partner. This disrupts the flow of traffic. (You wouldn't stop your car on the highway.)
  6. When entering the line of dance in the middle of a piece of music, merge.
  7. Save high boleos and ganchos for a less crowded floor (often at the end of the evening). Showtime, especially in the outer lane, is disruptive and can be dangerous (kind of like a wide load).
  8. If a collision occurs, stop moving to lessen the impact, and be polite, even if it wasn't your fault (no road rage!).
  9. This was mentioned in 5, but bears repeating. Don't teach on the dance floor. This is what practicas are for.

Next, the more delicate stuff

  1. Tango is an intimate dance. Take a shower, and use deodorant and breath fresheners. Avoid using strong perfumes. Remember that some people are sensitive to them.
  2. If you perspire heavily, use a handkerchief, take a break, and cool down. If necessary, bring an extra shirt to change into.
  3. Washing your hands once in a while with soap and water is a good idea.
  4. If you wear glasses, remove them while dancing if possible.
  5. Choose a hairstyle that keeps your hair out of your partner's face.
  6. Tango is elegant. It's your chance to look your best.

Requesting, accepting, and refusing a dance

In the milongas of Buenos Aires , the cabeceo (nod of the head) is the way you invite someone to dance. The man makes eye contact with the woman from a distance. The woman returns the look if she wishes to dance with him. He nods and she nods in response. The cabeceo minimizes the potential of embarrassment of being both – for the man, the embarrassment of being turned down and after walking across the room, and for the woman, the embarrassment of having to refuse him. It also prevents anyone from suddenly appearing in front of you and demanding a dance that you may not want.

They then walk to meet each other on the dance floor, where they stand in front of each other, smile, and wait for a moment to feel the music. He places his right hand around her waist, allowing her to decide how close she wants to dance. He offers his left hand, and she accepts it. When they have finished dancing, he continues to embrace her for an instant, then escorts her back to her table, stopping about 3 feet from the table, to avoid invading her space.

Tandas and cortinas

A tanda is usually four pieces of music of one style ( tango, milonga, or vals) played by the same orchestra. This allows the dancers to become accustomed to each other and the music. Traditionally, the entire tanda is danced with the same partner. It is considered disrespectful not to do so.

A cortina is a short piece of non-tango music between tandas, a kind of intermission, which gives dancers the opportunity to change partners (after escorting the woman back to her seat, of course).

Courtesy of Linda Walsh Casas
Originally published in T. O. Tango & Dance Review, March 2005
www.walshcasas.htmlplanet.com
www.tangolirico.com

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