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American Tango—
4 beats/measure; 30-32 meas/min
Tango
originated in Argentina during the eighteenth and nineteenth centuries,
and of course this was the Argentine Tango. It reached Paris ballrooms
in 1909 and quickly became popular in England and in America prior to
World War I. Vernon and Irene Castle were especially successful in
popularizing an elegant and polite form of tango, and a craze developed
for "Tango Teas," held at many fashionable hotels.
American
Tango adopted features of both Argentine and International or English
Tango. It is the simplest of the tango styles. Hollywood gratefully
adopted the style so that leading men would have some chance of looking
good.  Rudolph Valentino danced the American Tango in The
Four Horsemen of the Apocalypse in 1921, and Arnold Schwartzenegger
sort of did it in True Lies in 1994.
Where
International Tango is highly structured, American (like Argentine) is
more loose. We make greater use of loose closed, semi-closed, banjo,
sidecar, butterfly, shadow, even open position. We are apart from our
partner more.
On the other hand, when we are in closed position,
the hold is a close one. His right wrist should be placed on the
woman's left shoulder blade, the fingers and thumb together and
pointing down her back toward the floor. Her left arm wraps around his
right arm and the ridge of her hand presses against the lower side of
his upper arm. She might try to lock her left thumb into his right
armpit. Bodies are offset to the left so that left legs can swing
freely past your partner, but you are close, tight at the hip. Both
look to the left.
Where 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. The basic timing is slow, slow;
quick, quick, slow; over two measures. In most Smooth rhythms, we use
the whole slow count to take the step. Movement flows steadily from one
beat to the next. But in Tango, we take the step more sharply on one
beat and then hold on the second beat. Place each foot and then stop;
step and stop. 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. It is like a great jungle cat slowly stalking its prey.
In
Tango, we walk with a little right-side lead. The man steps forward on
the outside of the left foot and rolls 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.
Tango
is sometimes described as the "Groucho Marx" dance because we flex our
knees, and we stay down there as we move. However, you do not have to
strongly flex your knees. Only maintain whatever degree of flex that
you choose—there is no rise and fall. And above all, if you happen to
think of Groucho, do not think humor, slapstick, or farce. Tango is
usually pretty serious. You want to try to conjure up feelings of
pride, distain, maybe anger. Put some passion into those fans of the
leg, flicks of the foot, those flares, dips, and lunges. At the end of
a slow count, when you are frozen in stillness, it is because you feel
so intensely that you can do nothing else.
Figure Name, Roundalab Phase
Level, & Timing
q=quick, 1 beat
s=slow, 2 beats
&=1/2 beat; a=1/4 beat |
Steps and Actions That Make Up
the Figure
Each
description focuses on the man, with the woman's footwork in
parenthesis. If a woman's step is not given, it is the natural opposite
or follow of the man's. Help: basic dance
positions and steps,
actions, directions, and abbreviations.
Non-standard punctuation: 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 occurring in a single beat.
|
Here are some sequences to help
you visualize the figure in context.
|
| Straight Basic
ss; qqs;
|
In closed position facing line of dance,
step fwd L (woman bk R), -, fwd R, -; fwd L, fwd & sd R, draw L to
R no wt, -;
This
is not a Roundalab Standard, and we rarely hear it cued. Instead, we
hear "walk two and tango draw." The basic can also be danced in banjo
position.
|
In the classic Tango Mannita by
the Smiths, part A begins with a walk two; tango draw; in semi walk two
toward COH; maneuver tango draw; corte and recover; |
| Walk Two
phase III
ss;
|
In closed position, step forward L (woman
bk R) curving slightly to the left, -, fwd R, -; |
In Remedy by Woodruff part A begins with walk 2; tango draw; walk 2; gaucho turn 4;
|
| Run Two
qq
|
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
ready to take the next step — step/knee, step/knee.
|
|
| Tango
Draw
phase III
qqs;
|
In closed position, step fwd L (W bk R),
sd R on inside edge of foot and rolling onto flat of foot, draw L to R
no wt, -; |
In Schöner Gigolo by the Scherrers, the dance begins with a walk pick up; tango draw; reverse turn; closed finish;
|
| Promenade Basic
ss; qqs;
|
In
semi-closed position facing line of dance, step fwd L (woman fwd R), -,
thru R, -; fwd L (W fwd R and turning LF to face man in closed
position), sd R on inside edge of foot and rolling onto flat of foot,
draw L to R no wt, -;
This is not a Roundalab Standard either. The cue might
be "walk two pickup tango draw."
|
Tango Mannita begins in open
position with walk two; pickup tango draw; and then into part A as
described above. |
| Pickup Tango Draw
qqs;
|
This
figure allows us to do a tango draw from semi-closed position by
incorporating a pickup-like action into the first step. To allow for
the pickup, the man's first step will be shorter than in a standard
tango draw.
In semi-closed position, step fwd L (W fwd R and turning
LF to face man in closed position), sd R on inside edge of foot and
rolling onto flat of foot, draw L to R no wt, -;
|
|
| Maneuver Tango Draw
qqs;
|
Again,
we begin in semi-closed, but this time the man turns to closed. Since
momentum will be moving the man back, his side step will be more
comfortable if it is back and side, rather than straight side.
In semi-closed position, step fwd L turning RF to closed
position (W fwd R), sd R on inside edge of foot and rolling onto flat
of foot, draw L to R no wt, -;
|
|
| Back
Basic
ss; qqs;
|
In closed position facing line of dance,
step back L (W fwd R), -, bk R, -; bk L, bk & sd R, draw L to R no
wt, -;
Again, this is not a Roundalab Standard, and the round
dance cue might be "back two and back tango draw."
|
|
| Curving Basic
ss; qqs;
|
In
closed position, step fwd L (W bk R) beginning to turn LF, -, fwd R
completing 1/2 LF turn, -; fwd L, fwd & sd R, draw L to R no wt, -; |
|
| Promenade Turning Left
ss; qqs;
|
In
semi-closed position perhaps facing LOD, step fwd L (W fwd R), -, small
fwd R (W sd & fwd L turning 3/8 LF to face M and RLOD), -; fwd L (W
bk R), fwd & sd R, draw L to R no wt, -;
Notice that we have encountered two different figures
that
include a pickup and a tango draw. This figure is a walk, pickup, tango
draw (pickup on the second step, before the tango draw). The promenade
basic described above is a walk two, pickup tango draw (pickup on the
third step as a part of the tango draw).
|
|
| Promenade Turning Right
ss; qqs;
|
In
semi-closed position perhaps facing LOD, step fwd L (W fwd R), -, sd
& fwd R turning 5/8 RF to face W and COH (W small fwd L turning),
-; fwd L (W bk R), fwd & sd R, draw L to R no wt, -;
As in the case of the promenade turning left, described
above, we have two different sequences that include a maneuver and a
tango draw. This figure is a walk, maneuver (overturned), tango draw
(maneuver on the second step, before the tango draw). Alternatively, we
might walk two, maneuver tango draw (maneuver on the third step as a
part of the tango draw).
|
|
Continuous Basic
ss; qqs; sqq; qqs;
|
This is a walk 2
(ss), tango draw without the "draw" (qq), walk 2 (ss),
tango draw without the "draw" (qq), and finally a tango
draw with the "draw" (qqs).
In CP LOD forward L
slightly across the right, -, forward right slightly to the side, -;
(W back right slightly behind the left, -,
back left slightly to the side, -;) forward left, forward and side
right, forward left slightly across the right, -; (W back right, back
and side left, back right slightly behind the left, -;) forward right
slightly to the side, -, forward left, forward and side right; (back
left slightly to the side, -, back right, back and side left;)
forward left, forward and side right, draw left to right with no
weight, -; (W back right, back and side left, draw right to left with
no weight, -;)
Again, this is not a RAL Standard. It might be cued "walk 2 run 2 walk 2 run 2;;; tango draw;"
|
In El Choclo IV by the Sears, there is a whisk; slow pickup; tango draw; continuous basic;;;; 2 left turns;;
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| Running
Step
ss; qqs; sqq; qqs;
|
In brief, this is a walk two, run two,
walk two, run two, tango draw, very like the continuous basic above.
In
closed position, step fwd L (W bk R), -, fwd R, -; fwd L, fwd R, fwd L,
-; fwd R, -, fwd L, fwd R; fwd L, fwd & sd R, draw L to R no wt, -;
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|
| Tango
Close
qqs;
|
Above, we can see that the
"tango draw" is a fundamental component in many american tango figures.
The tango close is the same fundamental component, but it leaves the
trail feet free instead of the lead feet.
In
closed position, step fwd L (W bk R), sd R on inside edge of the foot and
rolling onto flat of foot, draw L to R and change weight, -;
|
|
Turning Tango
Close
phase IV
qqs;
|
In
closed position, step fwd L (W bk R) beginning to turn LF, sd R on inside edge of the foot and
rolling onto flat of foot continuing to turn up to about 1/4, cl L to R, -; |
|
| Criss Cross
phase III
ss; qqs;
|
In
SCP facing LOD, step sd & fwd L (W sd & fwd R), -, thru turning
in, -; swivel to reverse step thru L (W R) to rev, sd to closed wall,
draw lead foot to trail no weight change, -; |
In Te Quiero by Grunder we dance a telemark to SCP; fwd rock 3; criss cross to CP;; corte recover;
|
| Hesitation Step
ss; qqs;
|
In
closed position facing line of dance, step fwd L (W bk R), -, rock back
R, -; recover L, fwd & sd R, draw L to R no wt, -; |
|
| Maneuver
s
|
In semi-closed position, trail feet free,
step fwd, man turns 1/2 RF to closed position, -, |
|
| Pickup
s
|
In semi-closed position, step fwd on trail
feet, woman turning 1/2 LF to closed position, -, |
|
| Pivot Four
phase IV
ss; ss;
|
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. |
|
| Corte
phase III
s
|
In closed position, step back & side
(woman fwd & sd) on lead foot lowering, -, |
Do a tango draw; corte recover; tango draw; |
| Side Corte
phase III
s
|
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. |
|
| Single Corte
ss; qqs;
|
In closed position, step side and back L
(W sd & fwd R), -, recover R, -; tango draw; |
|
| Double Corte
qqs; sqq; ss; qqs;
|
In brief, this extended figure is a pivot
two, corte, recover, pivot two, corte, recover, tango draw.
In
closed position, step fwd L (W bk R) turning LF, bk R completing full
turn, step back & side L (woman fwd & sd R) lowering, -;
recover R, -, step fwd L (W bk R) turning LF, bk R completing full
turn; step back & side L (woman fwd & sd R) lowering, -,
recover R, -; fwd L (W bk R), fwd & sd R, draw L to R no wt, -;
|
|
| Advance Corte
phase IV
qqs;
|
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.
Note only two weight changes.
|
In Tango Bongo
by the Adams, part B begins in semi-closed facing COH with a walk face;
vine 3 to semi; lunge recover; side, cross in front, side (W spin LF)
to closed position; advanced corte; tango draw facing LOD; advanced
corte; tango draw; |
| Outside
Swivel
s
|
In
contra banjo, step back L and turn a little RF (woman fwd R swiveling
RF and drawing L to R no weight), -, ending in semi-closed position
trail feet free
This is also cued as a Flare.
|
|
| Outside Swivel Twice
phase IV
ss;
|
In banjo position facing LOD, step bk L
(woman fwd R) swvl RF to semi-closed, -, thru R (woman thru L) swvl to
bjo, -; |
|
| Vine Three
qqs;
|
In a facing position: sd, both XIB, sd, -; |
In Tango Bongo
by the Adams, part A begins in semi-closed, lead feet free, with a walk
and face (to closed position); vine 3 to semi; lunge thru recover; to a
side cross in front side (woman spin); corte recover; tango draw; |
| Twisty Vine
qqqq;
|
In
butterfly position facing wall, step side L (W sd R) turning RF to
momentary sidecar position, XRIB of L (woman XLIF of R), step sd
turning LF to momentary banjo position, XIF woman XIB;
If you begin facing the wall with the man on the inside
of
the circle, he will stay on the inside of the circle. The figure may be
danced in other orientations and with either foot free.
|
In Don't Cry For Me Argentina
by the Palmquists, there is a tango draw to face COH; forward L (W bk
R) and twisty vine 5 to banjo position facing DRC; back (W outside
swivel) to semi-closed position facing reverse; |
| Wheel
qqs; qqs;
|
In banjo, step fwd turning RF, fwd, cl;
fwd, fwd, cl; (complete turn stay in bjo throughout) |
|
| Serpiente
phase III
qqs; qqqq;
|
In loose closed position facing the 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 CCW (W fan L CW) no wt;
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, thru R; Notice that
this
sequence leaves the lead feet free.
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;
|
In Tango Mannita by the Smiths,
part C begins with a walk 2 run 2 walk 2 run 2;;; walk and face wall;
serpiente (of the third type described at left);; rock fwd 3; pickup
tango draw; |
| Right Lunge
phase IV
s
|
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 Gardenia Tango by the
Parkers, we step forward to a right lunge; rock turn;; walk 2; telemark
to SCP; and thru to a serpiente;; |
| Leg Crawl
phase IV
ss;
|
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. |
|
| Spanish Drag
phase IV
s
|
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."
|
In closed position, step forward L (W bk
R) and right lunge; spanish drag to a leg crawl; |
| Rock Forward
3
qqs;
|
In closed position, rock fwd L (W bk R),
rec R, fwd L, -;
|
|
| Rock Back 3
qqs;
|
In closed position, rock back L (W fwd R),
rec R, bk L, -;
|
|
| Rock Turn
phase V
qqs; qqs;
|
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, -; |
|
| Gaucho Turn
phase III
qqqq;
|
In closed position, rock fwd L (W bk R)
turning 1/8 LF, bk trn, fwd trn, bk trn; |
Do a whisk; thru face close; underturned
gaucho 4 to face LOD; walk 2; fwd sd bk to BJO W quick outside swivel;
thru face close; |
| Open
Reverse Turn
phase IV
qqs;
|
In closed position DLC step fwd L (W bk R) trng LF, fwd R
trng (W sd L), bk L (W fwd R) to BJO RLOD, -; |
|
| Reverse Turn Closed Finish
phase IV
qqs; qqs;
|
In
closed position facing line and center, step fwd L (W bk R) trng LF, sd
& bk R cont trn to face RLOD (W heel turn), bk L to closed
position, -; step bk R (woman fwd L) turning LF, sd & fwd L, close
R to L ending in closed position facing DLW, -; |
|
| Reverse Turn Open Finish
phase IV
qqs; qqs;
|
In
closed position facing line and center, step fwd L (W bk R) trng LF, sd
& bk R cont trn to face RLOD (W heel turn), bk L to closed
position, -; step bk R (woman fwd L) turning LF, sd & fwd L, fwd R
ending in banjo position facing DLW, -; |
In Gardenia Tango
by the Parkers, we walk pickup; walk 2; reverse turn open finish
checking;; back twist 3 & both ronde to banjo position; step fwd W
develope; |
| Reverse Fallaway
phase IV
sqq;
|
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;
|
|
| Reverse Fallaway From Semi
phase IV
sqq;
|
Where the reverse fallaway from closed begins with the lead foot, the
reverse fallaway from semi begins with the trail foot. The amount of
turn is usually about 3/8 LF, so in SCP DLC, we would step thru R (W
thru L) beginning to turn LF, -, fwd L turning LF (W bk R), recover back on trail feet to SCP RLOD; |
|
| Reverse Fallaway and Slip
phase V
qqqq;
|
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&;
|
|
| Ronde and
Slip
phase VI
sqq;
|
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.
|
|
| Rudolph Ronde
phase VI
s
|
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. |
|
| Rudolph Ronde and Slip
phase VI
sqq;
|
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). |
|
| Develope
phase IV
sqq;
|
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.
|
|
| Stalking Walks
phase V
ss; ss;
|
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.
|
|
| Contra
Check
phase V
s or q
|
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. |
|
| Contra Check and Slip
phase V
sqq;
|
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. |
|
| Contra Check and Switch
phase V
sqq;
|
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. |
|
| Reverse
Pivot
phase VI
s or q or &
|
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. |
|
| Natural Pivot Turn
phase VI
sqq; s
|
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.
|
|
| Twirl
qqs;
|
Step
forward L to semi-closed position (woman fwd R turning RF 1/2 under
lead hands), fwd R (woman back L completing underarm turn), both close
to face; |
In Tango Bongo by the
Adams, part C begins with walk 2 in closed position down line; the man
does a small crabwalk toward line and wall and twirls the woman toward
COH; man crabwalks back toward COH and reverse twirls (LF) the woman
back toward wall to end in semi-closed position; lunge forward on lead
feet, twist hips toward reverse; step behind side thru; |
|
