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| internet source: Argentine Tango Dancing |
Notes on Leading
A lot of nonsense is often talked about leading. Leading, contrary to the popular image, is not a case of the man making the lady dance a particular figure or move. Rather, a good lead from man merely makes clear his intention to the lady, who then follows. The Tango dancer Carlos Copes once remarked about leading, “The man should always remember that he is dancing with a lady.” This is sound advice.
Keep Parallel Shoulders
The first ingredient of a good lead is for the man to dance his own moves clearly and confidently. Clarity from the man is all-important, as it enables the lady to detect the speed, direction and feel of a figure early enough to respond appropriately.
The lady will generally be award of where and how the man is moving by following the alignment of his shoulders and trying to maintain a parallel position between her shoulders and his. Try dancing the basic without holding the partner, using only the maintenance of parallel shoulders as a guide.
A Steady Framework
The man’s arms and upper body make a firm frame in which the lady is gently held. The man must not allow his arms to move independenntly of his uper body, as this destroys the frame. He must never be seen to “steer” the lady with his arms. Leads are a subtle but clear communication between the dancers and should not be visible to others.
The lady should not try to anticipate the man’s intentions but should wait to accept and follow the man’s lead. In some specific figures, the man will squeeze the lady firmly between his hands to produce, for example, a turn, as in the Parada. Specific leads are specific, in general leading is gentle and subtle.
As exploring Tango Argentino, there is always something new and unexpected. Uniquely in Tango, some leads may be given with the foot or leg. These are called Sacadas.
Cortes in Argentine Tango
We have already touched on the drama of the Tango as the dancers explore their relatinship through the dance. Each in turn may take the lead, and many moves can be improvised, although improvisations must maintain the character of the Tango. It is during these improvisations that a conflict of intention may arise. In these circumstances, the dance may come to a sudden halt while the conflict is resolved. Such a halt, though not a figure in itself, is called a ‘Corte’. To an onlooker, this often serves to heighten the suspense before the drama moves on. In realidy, the man must now indicate and clarify his intentions to the lady- or vice versa. There are many ways of doing this within the character of the dance, and many elaborate devices have been invented over the years.
The Shoeshine
Let us suppose that the couple has danced the Retroceso, when suddenly the man feels that the lady is in doubt as to which foot she is to use in the next move. The couple stop- a corte. The man now indicates tot he lady which foot he has free and, in so doing, he shows her which foot she must use next. In the Shoeshine, the man remains on his LF with the knee slightly flexed and rubs his RF slowly up and down the calf of his L leg, as if polishing his shoe. There is no timing for this gesture. Suffice it to say that the couple resume the dance in time with the music.
La Puntada del Pie (The Foot Tap)
In a similar gesture to the Shoeshine, the free foot can be tapped repeatedly against the floor. The Puntada may also be performed by the lady while the man is dancing the Shoeshine, just to show her irritation at being kept waiting!
La Levantada
A very useful corte for the lady is the Levantada. When the couple comes to a standstill with the feet apart, the woman may perform a Levantada by lifting the free foot so that the knees are together and the lower leg is parallel with the floor. She then gently swings the free foot from side to side in an expectant gesture.
Amague
A different type of embellishment is an Amague, where a threatening gesture is made. An Amague is also sometimes danced to express frustration or to warn of a following figure that may be fast, shart and dramatic. A stamp or harsh tap called a ‘Frappé’ executed immediately before the next dramatic movement is a good example of an Amague. While less experienced dancers may enjoy interspersing their dancing with a peppering of Amagues, the effect is lost if the following figure does not live up to its dramatic announcement. Good Tango dancers therefore use this type of embellishment sparingly and only in the proper context of announcing the severe or powerful nature of the following move.
Cadencia in Argentine Tango
It is true that in the Tango Argentino the timing of the moves may alter according to the preference of the dancers, the mood or the demands of the music. The timings stated are those which, through experience, have been found to be the most suitable in all circumstances, and there is rarely any good reason to alter them. The timings and descriptions enable newcomers to the Tango to share a common understanding of what to do and how to do it in order to experience success, satisfaction and pleasure in dancing the Tango.
It is, however, good style to start and end moves with the phrasing of the music, or the ‘Cadencia’. An experienced tanguero is able to achieve this by using skilful combinations of figures, cortes and embellishments.
Get back to the 'Kandykane's Dance Learning Notes' or go to the 'Dance Glossary'.
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