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Introduction to International Tango

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Introduction to International Tango International Tango Introduction to International Tango General - International Tango is in the smooth ballroom category of dances along with Waltz, Quickstep, Slow Foxtrot and Viennese Waltz. Staccato movement and quick head changes are some distinct characteristics. International Tango is danced without rise or fall and usually no sway. This should make it easier to dance than the other smooth dances. Musical Timing - Technically the musical timing of International Tango is 2/4. That means two beats to one bar or measure of music. It is counted, however, 1 & 2 &, 1 & 2 &, etc. This seems like four beats to a measure or bar. The step or dance timing is QQS. Each “quick” is on a half beat and each “slow” is on a whole beat. This makes the first quick on 1, the second quick on &, and the slow on 2 &. If we try to choreograph a routine using this timing, it will soon become confusing on the cue sheet. We have many figures in routines that use a quarter beat and we call this a “&“ step. This step would use half a 1 or 2 beat or half a & beat. To eliminate confusion, this section of the manual will consider that the musical timing is 4/4, though it is technically incorrect. Using 4/4 will allow us to use the “&“ step and can put it in a cue sheet as a half beat in a measure. Footwork - The footwork in International Tango is different from the other smooth rhythms. With no rise or fall, there usually are no references to steps taken on the toe. Steps on the toe are normally after rising or preceding a lowering action. Instead of steps on the toe, in Tango they are on the ball of the foot (usually, but not always, this is on a backing step). There also will be many references to inside edge. This means that the inside edge is the first part of the foot to contact the floor. It could be the inside edge of the ball of the foot or the whole foot. On a tap, the inside edge of the toe is in contact with the floor. A tap does not take weight, because it only has contact with the floor. A forward step, by the man or the lady, uses a heel lead, no matter whether it is a “quick” or “slow”, in Closed Dance Position (CP) or Promenade (PP or SCP). We also must be aware of the positions of the feet, one to the other, when we bring them together or close them. When closing the feet, the ball of the right foot is at the instep of the left foot. It is the same for the man and the lady. This puts the man’s right foot slightly back from his left and the lady’s right foot slightly forward from her left. Placing the feet properly will tuck the knees in so that the back knee feels tucked behind the forward knee. When dancing the International Tango, the use of Contra (Contrary) Body Movement (CBM), Contra (Contrary) Body Movement Position (CBMP) and shoulder leading is essential. CBM is a body action while taking a step. In taking a forward step using CBM, the opposite shoulder must come forward also. CBM normally starts a turning figure. This, however; is not always true. A step completed with the feet on the same line and the body in contra is in CBMP. The most obvious example of this position is the Contra Check. A step using CBM could end in CBMP but does not necessarily have to. A step into Closed Position, from “outside partner”, (BJO or SDCAR), requires CBM, however; partners could end square to each other. It might not require CBM to end in CBMP. The through step with the inside foot in Promenade (SCP) is in TG - Intro - 1 Introduction (continued) International Tango CBMP, however; the shoulder is already forward and the step requires no body turn to be in CBMP. Shoulder leads will require the same foot and shoulder to move in the same direction, forward or backward. If in CBMP, the shoulder remains in its same position as the forward or backward step occurs. If the right foot and right shoulder are moving forward, we have a right shoulder leading. Dance Position - The dance position for International Tango is different from the other smooth rhythms. It is more compact and the lady moves more to the left in the man’s right arm. Do not think of the man reaching further around the lady, but the lady moving further to her left. There is a lowering of the body through the legs so that there is contact between the dancers from the waist to the knees. The lady moves her left arm and hand to the underside of the man’s right arm and there should be a solid connection with these arms. The man bends his left arm more, so that the hand moves toward the lady’s head slightly. This is so the lady’s right arm will not be straight when she moves further to the left. The feeling, when we get into the proper position, is that we are down in the legs and up in the body. It is important to maintain this position and feeling throughout, even while performing picture figures. Terminology - The terms Promenade Position (PP) and Semi-Closed Position (SCP) are the same. Promenade is the term that we will see in all the reference manuals used in International Ballroom. When we use the term “Banjo” (BJO) the ballroom definition is “Outside Partner”. For “Sidecar” (SDCAR) the ballroom definition is “Outside Partner Left Side”. These terms are also interchangeable. Most of the figures used in our higher level routines come from these manuals. We use many other ballroom terms for figures. We, therefore, must become more familiar with the remainder. We can use our own terminology, but we must understand theirs if we are going to use the figures out of their manuals. Let’s think of it as the best of both worlds. Alignment - Following this introduction, each Figure Description will have a beginning alignment. This alignment is not the only alignment from which the figure can begin or end. Some starting point is necessary to show the amount of turn while accomplishing the figure. The actual beginning alignment, in a routine, is the choreographer’s prerogative. The step timing for each figure will be the timing used in the most common reference books. Do not consider this timing the only one to use. Again this is choreographers’ prerogative. If we describe a figure as danced QQS, it may also be correct if danced QQQ or QQ&. Amounts of Turn - There are two amounts of turn noted in the figure Descriptions. One is the amount of turn made by the foot. This turn will be noted in the “Step & Direction” column. The other is the amount of turn which the body makes on a given step. We will note this turn in the “Body Turn” column. While dancing some figures, the feet will make more turn than the body, on a particular step. The body usually catches up on the next step. We note this by the term “Body Turns Later” or “Body Turns Less”. TG - Intro - 2 International Tango Table of Contents Introduction ……………………………………………..… TG-Int-1 Back Corté ……………………………………………..… TG-17 Back Open Promenade ……………………………………………..… TG-18 Basic Reverse Turn ……………………………………………..… TG-15 Brush Tap ……………………………………………..… TG-05 Chase, The ……………………………………………..… TG-04 Closed Promenade ……………………………………………..… TG-12 Contra Check - Hi Line & Slip ……………………………………………..… TG-46 Contra Check & Slip ……………………………………………..… TG-45 Contra Check & Switch ……………………………………………..… TG-43 Contra Check & Tap ……………………………………………..… TG-40 Double Closed Promenade ……………………………………………..… TG-19 Double Open Promenade ……………………………………………..… TG-20 Drop Oversway (from Closed Pos.) ……………………………………………..… TG-21 Drop Oversway (from Prom. Pos.) ……………………………………………..… TG-22 Fallaway Four Step ……………………………………………..… TG-23 Fallaway Promenade ……………………………………………..… TG-24 Five Step ……………………………………………..… TG-25 Four By Five Step ……………………………………………..… TG-26 Four Step ……………………………………………..… TG-11 Four Step Change ……………………………………………..… TG-27 Left Foot Back Rock ……………………………………………..… TG-28 Natural Fallaway Twist Turn ……………………………………………..… TG-29 Natural Promenade Turn ……………………………………………..… TG-06 Natural Twist Turn ……………………………………………..… TG-07 Open Promenade ……………………………………………..… TG-13 Open Rev Turn (Lady In-line) Closed Fin ……………………………………………..… TG-09 Open Rev. Turn (Lady In-line) Open Fin ……………………………………………..… TG-35 Open Rev. Turn (Lady Otsd) Closed Fin ……………………………………………..… TG-08 Open Rev. Turn (Lady Otsd) Open Fin ……………………………………………..… TG-34 Open Reverse Turn Closed Finish ……………………………………………..… TG-08 Outside Swivel ……………………………………………..… TG-48 Outside Swivel Promenade Link ……………………………………………..… TG-10 Oversway (from Closed Position) ……………………………………………..… TG-30 Oversway (from Promenade Pos.) ……………………………………………..… TG-31 Progressive Link ……………………………………………..… TG-03 Progressive Side Step ……………………………………………..… TG-02 TG – TOC - 1 S#9 2005 International Tango Table of Contents Promenade ……………………………………………..… TG-32 Promenade Link ……………………………………………..… TG-01 Promenade Quarter Beat ……………………………………………..… TG-14 Promenade Sway ……………………………………………..… TG-47 Quarter Beats ……………………………………………..… TG-42 Reverse Fallaway ……………………………………………..… TG-53 Reverse Fallaway And Slip ……………………………………………..… TG-51 Reverse Turn Closed Finish ……………………………………………..… TG-09 Reverse Turn Open Finish ……………………………………………..… TG-35 Right Foot Back Rock ……………………………………………..… TG-33 Right Lunge Roll And Slip ……………………………………………..… TG-55 Rock Turn ……………………………………………..… TG-36 Rudolph Rondé & Slip ……………………………………………..… TG-49 Rumba Cross ……………………………………………..… TG-44 Same Foot Lunge ……………………………………………..… TG-50 Spanish Drag ……………………………………………..… TG-41 Stalking Walks ……………………………………………..… TG-37 Tango Walks ……………………………………………..… TG-16 Throwaway Oversway ……………………………………………..… TG-54 Turning Five Step ……………………………………………..… TG-39 Turning Four Step ……………………………………………..… TG-38 Viennese Turn
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