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International Tango—
4 beats/measure; 26-34 meas/min
Tango originated in Argentina during the eighteenth and nineteenth centuries, and of course this was the Argentine Tango, a Latin rhythm. It reached Paris ballrooms in 1909 and quickly became popular in England and in America prior to World War I.
However, to be blunt, the Argenitne Tango was an earthy dance and many were offended. By the 1930s the tango had undergone more changes than any other ballroom dance in order to refine it enough to be able to bring it into "proper" ballrooms. Walking steps were introduced to make it progress around the room. The music was speeded up, made more aggressive, more march-like. Movements became sharper, more styalized, more snappy or jerky. A lot of the flirtation, temptation, and passion was taken out. As I have quoted elsewhere, Chris & Terri Cantrell have suggested that, "The American Tango is like the beginning of a love affair, when you are both very romantic and on your best behavior. The Argentine Tango is the next stage when you are in the heat of passion and all kinds of emotions consume you. The International Tango is like the end of the marriage, when you are staying together for the sake of the children."
International, or English, Tango is so changed from its origins that it is considered a Smooth or Standard rhythm, rather than Latin. It is a flat dance with no rise or fall, down into the knees, and characterized by a staccato emphasis on each beat, alternating rests and actions, and a lengthened stride. Take the step sharply and hold it, step and hold. International Tango emphasizes the use of quick steps and uses slow counts for contrast (American Tango uses more slow steps and uses the quicks for contrast).
In addition to making the steps sharp, there is no foot swivel. Put the foot where it should be, and then turn the body on that foot. Don't rotate the foot on the floor. The foot should hit the floor and stick. Tango is jerky but in a dramatic and even haughty way. Don't smile. Don't even look at your partner except maybe down your nose during a Right Lunge or at the end of a Spanish Drag.
The hold is closer than in waltz and the man perhaps more in control. Wayne and Barbara Blackford describe a technique for getting yourselves into good tango closed position. First assume your usual closed or waltz position. Then swivel a little left face, soften the knees, fit your four knees together like puzzle pieces, and shift the toes of your right foot to the instep of the left. Your steps will be a little pigeon-toed. A tap, for instance, will be on the inside of the lead big toe. (If you'd like to get this lesson directly rather than by way of my imperfect summary, see their DVDs; the link is under Videos on my links page.)
He places his right arm farther around the lady, and he brings his left hand closer, bending the left elbow a bit more. She places her left hand farther around, under his right shoulder blade, palm down and fingers and thumb together. She must put herself well into his right arm -- she is farther to his right and has stronger left sway than in other smooth rhythms. You are very close with her right hip bone tucked firmly into the pocket of his right hip. Glue yourselves together and dance as one, your trail feet stepping well between those of your partner, but let left sway separate your toplines. Keep your torsos up and proud. Again, don't look at her.
Since you have rotated a little left face, you will walk with a little right-side lead. Step forward on the outside of the left foot and roll to the inside edge, on the inside of the right foot and roll to the outside edge. The steps are a little bit crab-wise and curved a little to the left. The right-side lead does this. Walk heel to toe, skimming the floor. Wayne says to walk "sticky." Place each foot and then stop; step and stop. Judy Moore says to step as though you are negotiating lily pads -- step, be still, step, be still . . . Brent Moore says that there is much "stillness" in tango. There is no flow, no flight, no swiveling on the balls of the feet.
In the other smooth rhythms, the body is always in motion, in smooth and graceful arcs. In tango, the body doesn't move past the foot. The foot and the body move together. When the foot stops the body stops.
Round dancing mixes the three tango styles, so in this list especially, you will find some American and perhaps some Argentine figures, in addition to the International figures.
Figure Name, Phase Level, & Timing
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Steps and Actions That Make Up the Figure
These descriptions are primarily based on Roundalab's Standards For Round Dancing and on cue sheets written by many choreographers (see Links page).
Figure Videos
A reader suggested that I link to the video snippets at ballroomdancers.com so that for each figure we would have the cue, a description, and a performance video. I'll do that as time allows, but in the meantime, you might want to visit this page and see if the figure you want is there.
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Here are some sequences to help you visualize the figure in context.
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NOTE: There are many technical terms and abbreviations that are widely used in round dancing. For instance, if you encounter non-standard punctuation, I am probably trying to indicate the musical timing of a figure, where a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occuring in a single beat. Elsewhere, you can find descriptions of dance positions; basic dance steps, actions, and directions; and other dance abbreviations. WOMAN'S FOOTWORK — I try to describe what the man does and then in parenthesis what the woman does. In this way, you can read in one sentence what each partner is doing during that beat of music, rather than read about the man in one place and maybe the woman in another paragraph. I don't want to encourage the man to read only about his part and the woman only about hers.
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| Walk Two
phase III
ss;
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In closed position, step forward L (woman bk R) curving slightly to the left, -, fwd R, -; |
In the Childers' Just A Tango, part A begins with walk two; link and closed promenade;; to a fwd & right lunge; |
| Run Three
qqs;
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fwd, fwd, fwd, -;
To make any forward step sharper, dance each "quick" as a q/& with the quick the step and the & bringing the free knee forward so you're more ready to take the next step — step/knee, step/knee — sharp.
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You could walk two; run three to semi-closed position; criss cross;; |
| Maneuver
s
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In semi-closed position, trail feet free, step fwd, man turns RF 1/2 to closed position facing reverse, -, |
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| Pickup
s
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In semi step fwd trail feet woman turns LF 1/2 to closed position facing line, -, |
In Spanish Shawl by the Bonds, part A begins with a criss cross;; whisk; pickup; to 2 left turns;; |
| Pivot Four
phase IV
ss; ss;
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In closed position, reverse line of dance, soften knees, step back L (woman forward R), turn 1/2 on ball of foot. Stay in tight closed position. On the second slow, the man steps forward R and turns 1/2. Repeat for a total of two full turns. It helps if the one stepping forward R does so with some power and that he or she makes sure to drive down line well under his or her partner. If you don't drive and turn as one, you will fall behind and not make the full turn. If you do focus on taking each step down line, you can pivot over and over, with smooth progress. |
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| Tango Draw
phase III
qqs;
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In closed step fwd L, sd R, draw L to R no wt, -; |
In closed position, line of dance, walk 2; tango draw; walk to center, maneuver; back tango draw; corte, recover; for semi, PU; tango draw; |
| Basic
ss; qqs;
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In closed position facing line of dance, step fwd L, -, fwd R, -; fwd L, fwd & sd R, draw L to R no wt, -; |
This is a walk two; tango draw; If you blend to semi on the draw, you can then do a criss cross;; whisk; pickup tango draw. |
| Corte
phase III
s
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In closed position, step back & side (woman fwd & sd) on lead foot lowering, -, |
In the Chicos' Besame Tango, there is a forward to a right lunge; recover, tap, side, tap; corte, -, recover, -; walk 2; tango draw; |
| Side Corte
phase III
s
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In closed position, lead feet free, step to the side, flex the supporting knee, and turn RF (woman LF) to reverse semi-closed position. Leave trail leg extended, toe pointing to the floor. |
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| Advanced Corte
phase IV
qqs;
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In closed position, step back and side L (woman R) and lower into the lead leg. On the second beat, draw the trail foot to the lead and turn to semi-closed position. On the slow, step thru with the trail foot. |
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| Back Corte
phase V
sqq; s
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The naming of these various Cortes is confusing. Is a corte just one step? The Advanced Corte is two steps, but that's okay—it's "advanced." Now we have a four-step corte, but this is a common and recognized ballroom figure. In closed position, perhaps facing line and wall, step back L with left shoulder lead (woman fwd R with right shoulder lead), -, bk R (woman fwd L) turning LF, continue turning and step side and fwd L (woman sd & bk R); close R to L to end in closed position facing line and center, -,
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| Recover
s
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Replace weight on unweighted foot, -, |
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| Side stairs 10
qqqq; qqqq; qq,
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In closed position, step side, close, forward (woman back), cl; sd, cl, fwd, cl; sd, cl, |
In Tango d'Amor by the Cunninghams, there is a tango draw; five step, promenade link to DLC, gaucho 6 to DLW;;;; side stairs 10, five step;;;; and promenade link to DLC;
Or do a side stairs 4 to DLW; gaucho 4 to DLC; and viennese turns;
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| Progressive Side Step
phase V
qq
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In closed position, step forward L (woman bk R), small side and back R on the inside edge of the foot,
May include a small turn to the left.
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| Jete Point
phase V
&s
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In semi-closed position, step forward L (woman fwd R picking up to closed) onto ball of foot lower to the flat of the foot with a springing action/extend free foot to side with inside edge of foot on floor swaying and looking in direction of extended foot, -,
This is essentially a step, lower, and point, all in one beat. During the second beat, you hold in your extended pose. May be done with either foot; timing may vary; may be done from other positions.
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Closed promenade to a progressive link;; thru to a jete point; |
| Criss Cross
phase III
ss; qqs;
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In semi line step sd & fwd, -, thru turning in, -; swivel to reverse step thru to rev, sd to closed wall, draw lead to trail no wt, -; |
In the Molitoris' Eskimo Tango, they have a walk 2; tango draw to semi-closed facing center; criss cross;; gaucho turn 4 to face reverse; |
| Gaucho Turn Four
phase III
qqqq;
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In closed position, rock fwd turning 1/8 LF, bk trn, fwd trn, bk trn; |
gaucho 8 would make a full turn |
| Outside Swivel & Tap
phase V
sqq;
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In contra banjo, step back L and turn a little RF (woman fwd R swiveling RF and drawing L to R no weight), -, thru R (woman thru L), tap L side & fwd ending in semi-closed position lead feet free; |
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| Outside Swivel Link
phase V
sqq;
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In contra banjo, step back L and turn a little RF (woman fwd R swiveling RF to semi-closed and drawing L to R no weight), -, thru R turning LF (woman thru L beginning to pick up), touch L (woman turn LF and touch R) ending in closed position lead feet free; |
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| Outside Swivel Twice phase IV
ss;
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In banjo position facing LOD, step bk L (woman fwd R) swvl RF to semi-closed, -, thru R (woman thru L) swvl to bjo, -; |
Try an open reverse turn; open finish; outside swivels; tango draw; |
| Traveling Swivel
phase VI
qqqq; s
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In closed position facing DLC, step forward L (woman bk R) turning LF, sd R swiveling LF, bk L in closed position facing DRW, swivel LF leaving R leg extended behind; thru R (woman fwd L) to semi-closed position facing DLW, touch lead toe side & fwd, |
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| Promenade Sway
phase IV
ss;
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Step side and forward L (woman R) turning to semi-closed position and looking over your joined lead hands, -, relax your lead knees, -; |
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| Oversway
phase IV
s
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In closed position, step side L (woman R), relax the L knee, stretch the left side, leave the R leg extended, and turn slightly LF. You are in closed position, and she is looking strongly left. A slow oversway might use a full measure. |
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| Throwaway Oversway
phase VI
s
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In semi-closed position, step side & forward L (woman sd & fwd R). The man points his left toe where he wants her to "throw" her left foot. He might step L and turn his foot to point diagonal line and wall or a little farther toward line. The man changes to right sway and rotates the hips and torso CCW to move the woman's left leg back, and then quickly begins to lower by flexing the left knee so that she won't take weight on that foot but will continue to move it back behind her, exposing the sole of the foot to passers by. |
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| Same Foot Lunge
phase VI
s
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Begin in closed position with trail feet free. Since this is a "same foot" figure, we have to do a transition. Often, the cue is "prep for a same foot lunge." The "prep" is a slight rise and right face rotation causing the woman to rise to her toes and change weight to her left foot. She has rotated a little RF but not as far as to semi-closed position—you are still closed. Her right knee is tucked just behind her left knee. Her left hipbone needs to settle into the hollow of his right hipbone (inside his right hip). Both now have right feet free. Now we can do the figure.
Lower in the left leg, push, and step side and slightly forward R with right-side stretch and looking right. Give her your right side—that will close her head (woman steps back R turning LF and looking well left—very like a contra check step for the woman). The man's left leg will be extended to the side, straght and strong. The woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position).
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| Serpiente
phase III
qqqq; qqqq;
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In closed position facing wall, step sd L, behind R (woman behind L), fan L counter-clockwise no wt (woman fan R CW), bhd L; sd R, thru L, fan R no wt, thru R;
Actually, the serpiente is used with a variety of thru, side, behind, rondes. Another pattern is sd L, XRIB, flare L CCW (woman mirror image), -; XLIB of R, sd R, XLIF, flare R CCW; Notice that this sequence leaves the trail feet free. The choreographer might add a third measure and finish the figure with a thru, face, close, -;
Yet another pattern that is used is a sd L, tap R, sd R to RLOD, flare LIB of R; behind L, sd R, thru L, flare R CCW;
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You might step forward to semi, thru; serpiente;; whisk; pick up, run 2; tango draw;
In the Woodruffs' Seargent Preston, she has a Sd L, XRIB (W XIB), pt L to sd, flick LIB; XLIB (W XIB), sd R, thru L, flare R CCW; and follows this serpiente with a thru, side, behind, -; and roll 3;
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| Doble Cruz
phase IV
sqq; qqqq;
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In semi-closed position facing LOD, step fwd L (woman fwd R), -, thru R, sd L turning RF to closed position facing wall; XRIB of L (woman XLIB of R), ronde L no weight, XLIB of R, bk R turning LF to CP LOD;
May be done in other facing orientations.
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In My Heart Belongs To Daddy by the DeChennes, there is a tango draw; contra check, recover, tap to semi-closed position facing LOD; doble cruz;; and back to left whisk; |
| Whisk
phase III
qqs;
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In closed position facing wall, step fwd, fwd & sd, XIB to semi line; |
In the Woodruffs' Seargeant Preston, part B begins with a walk 2; open reverse turn; closed finish; whisk; thru face close; |
| Right Lunge
phase IV
s
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In closed position, trail feet free, lower into the left knee and step side and forward onto the right, keeping the left side in toward your partner and your body upright. Don't lean over your partner. As you take weight on the right, lower into the right knee and turn slightly LF to close her head (she should look strongly left). Look at her. |
In Doi's El Choclo, there is a reverse turn; back contra rocks;; closed finish; forward righ lunge; rock turn;; corte and recover; |
| Leg Crawl
phase IV
ss;
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From the right lunge position, step back L keeping R leg extended to side (she steps fwd R & lifts left leg up his outer thigh, her L toe pointed down). On the second slow, take a small back step to closed position. |
forward, rt lunge; leg crawl; tango draw; open reverse turn; closed finish; |
| Spanish Drag
phase IV
s
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From right lunge position recover L with soft knee and R extended, rise drawing right foot in and stretch right side to change sway, (one wt change)
The spanish drag can be done over a whole measure, even a measure and a half. She looks down her nose and a little askance at him, distainful, "no you don't, buddy." Then at the end of the drag she might relent a little and look directly at him -- "well, maybe."
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fwd, rt lunge; Spanish drag, back; tango draw; Viennese turns; tango draw; |
| Rock 3
qqs;
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In closed position, rock back L (W fwd R), rec R, bk L, -; |
In Diosa Marina by the Schmidts, the dance begins with a rock 3; closed finish to face LOD; walk 2; progressive side step & hold (qq hold the slow); walk 2; progressive side step & hold; |
| Rock Turn
phase V
qqs; qqs;
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In closed position diagonal wall, step bk L turn RF, rec R trn RF, bk L trn RF, -; bk R trng LF, sd L, cl R to DLW, -; |
fwd & rt lunge; rock turn;; rev turn; cl finish; |
| Reverse Turn
phase IV
qqs;
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In closed position diag cntr step fwd L trng LF, sd & bk R cont trn to RLOD woman heel turn, bk L to closed, -; |
In the Worlocks' Blue Skies, there is a forward & right lunge; spanish drag; back corte; reverse turn; back rock 3 twice;; back corte; and walk 2 to line; |
| Open Reverse Turn
phase IV
qqs;
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In closed position, step fwd l trn LF, fwd trn woman heel turn, bk to bjo, -; |
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| Reverse Fallaway
phase IV
sqq;
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In closed position, line of dance, step forward L turning LF 1/8 to 1/4. Step side R, and then cross the L in back of R (woman R in back of L) to end in semi-closed position facing reverse. The "fallaway" is actually the last step; fallaway is stepping back in semi position.
May be done from semi position: step thru R (woman L) beginning to turn LF, -, fwd L turning LF, recover back on R to semi reverse;
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| Reverse Fallaway and Slip
phase V
qqqq;
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In closed position facing line and center, step forward L (woman bk R) turning LF 1/8 to 1/4. Step side R, and then cross the L in back of R (woman R in back of L) to end in semi-closed position facing RLOD. On the last "quick" turn LF and slip R past L small step on toe ending in closed position facing line and wall or LOD.
May be danced sq&q; or sqq&;
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| Ronde and Slip
phase VI
sqq;
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In closed position facing wall, ronde the left leg counter clockwise and cross behind R with left sway and no weight change (woman ronde R CW and XRIB of L), -, back L and rise turning LF with no sway (woman bk R turning LF), slip back R (woman fwd L near man's R) to closed position;
Amount of turn may vary.
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| Rudolph Ronde
phase VI
s
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In closed position, lower and step forward R between the woman's feet as if you are beginning a RF pivot, and she will step back L. But stop your rotation by flexing the R knee and keeping the L leg back. As a part of this step, you might tap the inside of her right knee with your right knee, leading her to lift her R leg from the hip and ronde it CW. Leave the left leg side and back and the right leg soft, but lift and rotate the upper body RF to suggest something about the height of her ronde. The lady's head should follow her foot and so move from closed position to strongly right. |
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| Rudolph Ronde and Slip
phase VI
sqq;
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In closed position, lower and step forward R between the woman's feet, and she will step back. Leave the left leg side and back, but lift and rotate the upper body RF to lead her to lift her R leg from the hip and ronde it CW. On the first quick, rise from your chair-like lunge and recover back on the left, and she steps back R beginning a LF pivot on the fall of the right foot. As she pivots, she keeps her thighs locked and her left leg extended. On the second quick, he steps back R rising, and she steps forward L in a slipping action, both rotating a bit LF (up to 3/8). |
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| Develope
phase IV
sqq;
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In sidecar postion, the man steps forward L, checking, and holds. The woman steps back R and stretches her body up, -, raises the L up the right leg to the outside of the right knee, and extends the left leg forward in a controlled kick as high as is comfortable. One weight change.
The develope action is the raising of the knee and the kick. It can be done in banjo, beginning with the trail feet. It is done from other positions, the woman swiveling into position before the develope. Sometimes both develope.
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| Closed Finish
phase IV
qqs;
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In closed or banjo position facing RLOD, step bk R (woman fwd L) turning LF, sd & fwd L, close R to L ending in closed position, -; |
A common pairing is the open reverse turn; closed finish; |
| Open Finish
phase IV
qqs;
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In closed or banjo position facing RLOD, step bk R (woman fwd L) turning LF, sd & fwd L, fwd R ending in banjo position, -;
Notice that the use of the terms closed and open in tango often refer to closing feet and passing feet, respectively. In the open finish (or the open promenade below), we are not ending in any kind of open position, but our feet are "open." The last step was a passing step.
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Reverse turn; open finish; |
| Viennese Turns
phase IV
q,q/&, q,q/&;
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In closed position facing LOD, step forward L beginning LF turn, side R continuing turn/cross L in front of R (woman close R to L), back R turning, side L turning/close R to L (woman XLIFR) to end in closed position facing LOD; One full turn.
One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we tend to separate a little from our partner in order to fit in that cross-in-front step. We stick our butts out and then hunch over our partner to compensate. Maybe worse than that, we don't quite make the full turn. The steps are fast. We need to get all the way around in only one measure, and we don't make it. What if there are two measures of Viennese Turns? We fall behind on the first set, further behind on the second, and we're way out of position for whatever comes next.
We can maintain dance position and get all the way around if we dance this figure in a linear, not round way, and if we think about diagonal body orientation and strong side lead. Do the first "turn" with two forward steps and then sharply turn to face reverse and center (woman line and wall) with strong right side lead (man's right shoulder back). Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk, and it interrupts your momentum.
Now do the second turn in a linear manner and sharply turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily.
You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.
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| Telemark to Semi
phase IV
qqs;
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In closed position, line of dance, step fwd L (woman back R), and begin to turn LF. Step side R continuing to turn to closed reverse. In these first two steps, you should exactly trade places. On the slow, step side and forward L to a tight semi-closed position, facing line and wall. |
In Fiesta Tango by the Palmquists, there is a walk 2 in closed position to face DLC; telemark to semi; back open promenade ending to contra banjo DRW; turning five step to semi-closed LOD, and open promenade;;; |
| Drop Oversway
phase V
qqs; s
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This cue is sometimes used to refer to the final action only. The complete figure is an Open Telemark to a Drop Oversway.
In closed position facing line and center, step fwd L (woman bk R), and begin to turn LF. Step side R continuing to turn to closed position facing reverse (woman heel turn). On the first slow count, step side and forward L (woman R) to a tight semi-closed position, body stretched upward, but flat, not onto toes, facing line and wall. On the second slow count, sharply flex the L knee (woman R), rotate a little LF, and sway to the right allowing the R foot (woman L) to slide out to point toward RLOD. Look at your partner. This last action is really the Drop Oversway—you are dropping sharply into a broken right sway and closed position.
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| Double Telemark
phase VI
sqq; &qqs;
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This figure is two telemarks in a row, and the "&" count is simply a quick step used to pick her up and get the lead foot free for the second telemark turn. So, in closed position facing line and center, step forward L (woman back R) beginning to turn LF, -, side R turning and with right side stretch (woman bk L to R for a heel turn), sd & fwd L to semi-closed position facing LOD;
On the "&" count, step fwd R turning LF much as you would do in leading a Wing (woman fwd L, then turning to closed position or picking up).
In the second measure, execute a "quick" telemark, by which I do not mean synchopated but beginning with a "quick" count rather than a "slow." Step fwd L turning, sd & fwd R (woman back L to R for a toe spin), sd & fwd L turning to semi-closed position facing line and wall, -;
The woman's toe spin occurs in the second Telemark, rather than a heel turn, because of the quicker turn (quick, quick; rather than slow, quick).
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| Telespin phase VI
sqq; q&qs;
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Start in closed position facing line and center. Step forward L turning LF (woman bk R), -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight keeping left side forward (woman fwd R); At the end of the first measure, you are in a sidecar position with the man facing about wall and the woman facing line and center. Begin a LF spin and lead the woman to step fwd L. On an &-count the man takes weight on his L and spins LF (woman fwd R to a toe spin). Side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position RLOD, -; The figure turns 1 & 3/8 LF.
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| Promenade (to semi)
phase V
sqq; s
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In semi-closed position step side and forward with lead feet, -, thru, sd & fwd ; close, -, |
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| Closed Promenade
phase V
sqq; s
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In semi-closed position, step side and forward with lead feet, -, thru, sd & fwd L (woman sd & bk R turning LF to closed position); close, -,
It is possible to dance two closed promenades in a row (or otherwise to do any promenade from closed position). The man simply needs to step forward L with strong left-side lead, and the woman will turn RF, rolling from the front to the back of his right hip and step small forward R in SCP. The count for the first three steps might be &1234; where we turn to SCP on the &, we step on 1, hold 2, and then take steps 2 and 3 on beats 3 and 4 as normal.
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Do a closed promenade, walk two, open reverse turn, open finish checking, corte;;;;; rec, -, side stairs 6;;
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| Open Promenade
phase V
sqq; s
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In semi-closed position step side and forward with lead feet, -, thru with trail feet, sd & fwd woman sd & bk turning RF to closed; forward R (woman back L) to contra banjo, -,
What makes this figure "open" is the final passing step; the feet end open or apart from each other.
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| Back Open Promenade
phase V
sqq; s
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In semi-closed position, step side and forward L (woman sd & fwd R), -, thru R beginning to turn 1/4 RF, turn and step sd & bk L (woman sd & fwd R) to closed position facing reverse and wall; check back R with left-side lead (woman fwd L with right-side lead) [contra], -, |
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| Double Open Promenade
phase VI
sqq; qqs;
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Like the open promenade, we begin in semi-closed and end in banjo position, but we take two extra steps and briefly turn to closed position in the middle of the figure.
In semi-closed position, usually facing LOD, step side and forward L (woman sd & fwd R), -, fwd R, sd & fwd L (woman turn LF to closed position and step sd & bk R); fwd R (woman turn RF to semi-closed position and step fwd L), sd & fwd L (woman turn LF to closed position again and step sd & bk R), fwd R outside partner to end in contra banjo position facing DLW, -;
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| Double Closed Promenade
phase VI
sqq; qqs;
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Like the closed promenade, we begin in semi-closed and end in closed position, but we take two extra steps and briefly turn to closed position in the middle of the figure, too.
In semi-closed position, usually facing LOD, step side and forward L (woman sd & fwd R), -, fwd R, sd & fwd L (woman turn LF to closed position and step sd & bk R); fwd R (woman turn RF to semi-closed position and step fwd L), sd & fwd L (woman turn LF to closed position again and step sd & bk R), close R to end in closed position DLW, -;
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In Ecstasy by the Reads, part A begins with a double closed promenade;; progressive link; big top; contra check and extend; recover and tap to semi-closed; |
| Rumba Cross
phase VI
qqs; s
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In closed position, facing line of dance, step forward L (woman back R). Knees are soft. Use strong left side lead and left side stretch. On the second "quick" cross right in back of left (woman left in front of right). Use a Latin Cross action with the heel leading, R toe to L heel, making a momentary "7" and turning RF on toes up to 1/2. This strong left side stretch will cause/allow the woman to cross in front. On the "slow", step back L (woman fwd R between partner's feet), pivoting RF. On the second "slow," step forward R between partner's feet to closed position. Standard amount of total turn is 1/2 to 3/4. |
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| Promenade Tap
phase V
sqq;
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In semi-closed position, step side and forward L (woman sd & fwd R), -, thru R, tap L sd & fwd ending in SCP ld ft free; |
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| Quarter Beats
phase V
q&q&s;
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In semi-closed position, small steps back L (woman R)/sd & bk R, rec L closing hips and even looking at partner/cl R, tap L sd & fwd ending in SCP, -;
Sometimes this figure is likened to a sailor shuffle, close/tap, but don't make it look like that — loose and swingy. Keep the topline steady with the legs moving in a controlled way below. Settle a bit at the end of the figure.
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| Promenade Quarter Beats
phase V
sqq&; s
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In semi-closed position, step side and forward L (woman R), -, thru R, sd & fwd L on ball of foot/close R to L on ball; sharply lower R heel compressing knee and tap L sd & fwd ending in SCP, -; |
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| Stalking Walks
phase V
ss; ss;
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In semi-closed position, step sd & fwd L, -, draw R face ptnr and point toe thru, -; thru R in semi, -, draw L and pt, -;
There are two different views on styling. Some picture a jungle cat moving down a tangled path, stepping over fallen branches as each free foot comes forward. Others picture him gliding down a more open path with that free foot just skimming the surface. But make it cat-like.
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| Contra Check
phase V
s or q
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In closed position, the man lowers on his right foot and steps forward on his left or actually slides his left forward and the woman steps back on her right to contra banjo. Turn the toes of the left foot out a little for stability. The word "contra" means that as you step forward with one foot (the left here), you turn your body so that the opposite side is leading or going forward (here the right side). That is what contra is: the left foot goes forward, but the right side of the torso goes forward. A contra action twists the body a little so that the legs are not side by side, but the thighs are crossed. Keep your body upright; don't lean over your lady. By the way, the word "check" means that you will stop your forward movement and get ready for the next step, which will be back or recover. "Check" means to stop and get ready to move the other way. |
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| Contra Check and Slip
phase V
sqq;
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Lower, rotate a little LF, and step forward L into a contra check, as described above. On the two quicks, recover R (woman recover L), and slip the left past the right turning a little LF to closed position. |
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| Contra Check and Switch
phase V
sqq;
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Lower, rotate a little LF, and step forward L into a contra check, as described above. On the two quicks, recover R (woman recover L) beginning to turn RF and leaving left foot in place, and step back L with soft knees throughout. End in closed position; amount of turn varies. |
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| Brush Tap
phase V
qq&s;
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In closed position, step forward L turning about 1/8 LF, take a small side step and brush the left to the right (woman right to left), and then tap the left to the side with the inside of the big toe on the floor and the left knee turned inward.
The "tap" itself is the sharp placement of the lead, big toe on the floor without taking weight, knees flexed. The toes are turned in and the heel is out in a "pigeon-toed" sort of stance. The tap is used in other ways than in a Brush Tap. You might be cued to "close/tap" or "recover/tap" Such "taps" often turn you to semi-closed position, rather than closed position.
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| Back Twinkle
phase V
qqs;
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In semi-closed position, step back L (woman bk R), close R to L at instep of L foot, tap L side & fwd, -; |
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| Promenade Link
phase V
sqq;
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A "link" is a figure that is designed to accomplish a change—to shift you from one dance position to another, from one foot to the other, from turning one way to turning the other. Probably most dance figures do that, but links have such a change as its primary purpose. (So, in Viennese Waltz, the purpose of a closed change is not so much to carry you a little farther down the floor but to free up the trail feet and allow you to do some natural turns after having danced a string of reverse turns. The closed change is an example of a link.)
The promenade link begins in promenade or semi-closed position facing LOD. The man steps side and forward L (woman R), -, thru R (woman thru L turning LF to closed position), tap L to side of R ending in closed position lead feet free facing DLW or LOD;
We have "linked" from semi-closed to closed position.
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| Progressive Link
phase V
qq
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In closed position facing diagonal line and wall, step forward L a bit wide toward her R elbow and with a little contra action, giving her your right side (woman back R), then close R to L taking the right side away again. This will place her in semi-closed position. Her pelvis will roll RF from the front of his right hip to a little behind his right hip. Don't straighten the right leg and so pop up. Tango stays down with back poise. |
In Dancing - - The Tango by the Sechrists, there is a walk 2; progressive link and side/close; natural pivot to a chair;; recover slip & corte; |
| Four Step
phase V
qqqq;
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In closed position facing LOD, step forward L (woman bk R), sd & bk R, bk L under body (woman fwd R outside partner) to contra banjo, small sd & bk R taking R hip farther away from W (W sm sd & bk L turning RF) to semi-closed position;
The last step of this figure is much like the last step of a progressive link. It takes the man's right side away from the woman and so turns her to semi.
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| Five Step
phase V
qqqq; s
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In closed position facing LOD, step forward L (woman bk R), sd & bk R, bk L under body (woman fwd R outside partner) to contra banjo, small sd & bk R to closed position; sharply turn to semi-closed position with no weight change, -, Often, we like to dance this figure with a timing of qqs; &s. In other words, we hold the third step in banjo position, and then in a "change/point"–like way, we step and turn to semi & tap.
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In Stier Tango by the Worlocks, there is a reverse fallaway slip; brush tap to face DLW; side close & five step;; to a double promenade with swivel closes;;
The last figure above is like a double closed promenade, but the timing is modified to fit this particular music (sqq; qqqq; with swivels on beats 4 & 8).
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| Turning Five Step
qqqq; s
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In closed position, step forward L (woman bk R) turning 1/4 LF, sd & bk R turning, bk L (woman fwd R outside partner) to contra banjo, small sd & bk R to closed position completing 1/2 turn; sharply turn to semi-closed position with no weight change and lead feet tapped, -,
If you begin in CP LOD, you will end in SCP RLOD.
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| Four By Five Step
qqqq; qqqq; s
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In closed position facing DLW, step forward L (woman bk R), sd & bk R, bk L to banjo, swivel RF to sidecar and close R to L (woman cl L); fwd L, turning LF to banjo sd & bk R, bk L in BJO, small bk R to CP; turn sharply to SCP and tap, -, |
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| Reverse Pivot
phase VI
s or q or &
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In closed position facing RLOD, step back R (woman fwd L) and spin 1/2 to the left on the ball of the right foot. Stay low—no rise or fall and no sway. Amount of turn may vary. |
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| Natural Pivot Turn
phase VI
sqq; s
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In semi-closed position facing LOD, step side & fwd L (woman sd & fwd R) down line, -, fwd R turning RF to closed position facing RLOD, side and back L pivoting RF to closed facing LOD; fwd and side R with a slight lunge to end in closed position, -,
This figure begins in semi, turns 3/4 to 7/8 RF, and ends in closed.
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| Natural Promenade Turn
phase VI
sqq; s
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In semi-closed position facing LOD, step side & fwd L (woman sd & fwd R) down line, -, fwd R turning RF to closed position facing RLOD, side and back L pivoting RF to closed facing LOD; fwd R to semi-closed position, -,
This figure begins in semi, turns 3/4 to 7/8 RF, and ends in semi.
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| Natural Twist Turn
phase VI
sqq; sqq;
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This one has about the same result as the Natural Promenade Turn, but it is accomplished with a twist turn rather than a pivot.
In semi-closed position LOD, step sd & fwd L (woman sd & fwd R), -, fwd R blending to CBMP, turning RF sd L across woman's line of dance (she steps fwd R between man's feet); XRIB of L without taking full weight (woman fwd L with left shoulder lead), -, twist RF to semi-closed position facing DLC (woman fwd R to banjo position and swivel RF), shift weight to R in tap position (woman sd and bk L),
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In the classic, Tango Capriccioso, by the Wards, part A starts with a natural twist turn;; closed promenade and progressive side step;; walk two; |
| Natural Fallaway Twist Turn
sqq; qqs;
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This figure is like the Natural Twist Turn, but the woman stays in fallaway position rather than blending to banjo on the second step. She is also in fallaway position at the beginning of measure two. On the other hand, we end in banjo rather than semi.
In semi-closed position LOD, step sd & fwd L (woman sd & fwd R), -, fwd R still in semi beginning to turn RF, sd & fwd L to momentary closed position facing diagonal reverse and wall (woman fwd R between man's feet); XRIB of L without taking full weight (woman turn RF and step side & back L into tight fallaway or semi-closed position facing reverse), unwind RF (woman step back R or XRIB of L), take weight on R (woman sd & fwd L) to banjo position man facing LOD, -;
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In Tango Capriccioso, part B starts with a fallaway twist turn;; outside swivel forward tap; promenade to semi and forward;; pickup tap four step and promenade to semi;;;
In the DeChennes' 007 Tango, part B begins with a double open promenade;; outside swivel thru tap; natural fallaway twist turn;; back and prep to a same foot lunge;,,
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| Chase
phase VI
sqq; qq
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In semi-closed position, step side and forward L (woman sd & fwd R), -, fwd R turning RF (woman fwd L), sd L (woman sd & fwd R) to closed position facing DRW; fwd R turning sharply RF to contra banjo checking, recover back L (woman fwd R) turning RF to end in closed position facing DRC,
This figure is often followed by a chassé or a back/lock, back; to finish out the measure. Such an ending would be separately cued. Alternatively, some regard the Chase as a six-step figure (sqq; qqs;), the last step being side and forward R turning RF to end in SCP facing DLC.
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In Diosa Marina by the Schmidts, there is a five step to a chase with a chasse ending and brush tap;;;; curve 2 to face COH; fwd rock 3 to face DRC; back cruve 2 to face wall; bk rk 3 to face DLW; |
from Rose Is Rose by Pat Brady, Andrews McMeel, 1999
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