[Tango-L] Should automatic crossing, or automatic anything, be discouraged?

[lgmoseley@aol.com]

Trini asked a question and Manuel answered. I shall give my own answer and it 

is different from the one given by Manuel.

 

In my view (and I'm from the UK not the USA), the lady should never cross 

automatically. In fact she should never do anything automatically (unless 

she has been given the 'over to you signal', or has indicated that she 

wishes to do firuletes or something else of her choice).

 

The general reason is that at the end of every step (at the point at which 

both partners have 'gathered', 'collected' or whatever word you use to 

describe the part of a step when the weight has been transferred to the man's 

front foot (lady's back). On every step, the lady will have no idea what 

is going to come next. She has to wait for a lead. That wait is commonly 

only a fraction of a second, but it is a wait.

 

For example, if she is in the cross, he may step forward, backward, 

sideways, swivel, turn his shoulder so that she swivels, lift her for a 

colgada or whatever.  He  may be about to walk forward inside, outside, 

in parallel, or in crossed. He may be about to lead a cunita, a forward 

ocho, a backwards ocho, a forward giro, a backwards giro, a front or 

rear sacada, ochos cortadas, or whatever.  That is part of the richness of 

Tango. If she has chosen to do her own thing, the partners cease to be a 

couple and become two individuals – usually uncoordinated and 

non-communicating individuals.

 

Tango is, in my view, a conversation between two bodies, but without 

words.  As in all conversations, the content of the communication comes in 

the surprises. If, in a normal conversation  you could predict exactly 

what  your interlocutor would say in all circumstances, I would not describe 

it as a conversation. It would be (a) a series of set-piece monologues  

(b) non-communicating, and (c) boring. The conversational element 

occurs when something unexpected enters into the exchange. If the lady does 

not know what is coming next (until it is led), everything is unexpected.

 

With regard to the cross, if the lady crosses automatically it cuts down on 

the richness of the potential conversation. If she does  it as a response to 

a lead, it is part of the conversation – like saying “I see”, “Yes, 

but”, “On the other hand”, “Therefore” or any of the other 

connections that we  use in verbal conversations.  Any of those phrases make 

sense only in response to an utterance by the partner. They make no sense in 

isolation. Similarly, a cross makes no sense in isolation.

 

Of course, at milongas one sometimes dances with ladies who have been taught 

to cross whenever they get the opportunity. If the man wishes to lead in that 

situation, he has to treat it like any of the other variables at play – the 

closeness of the embrace, the balance of the lady, the conditions on the 

floor, the music, the state of inebriation of either partner, etc. and 

do something about it.  For such ladies, a simple solution is not to give 

her an opportunity to cross until you wish it to happen. One way of doing that 

is to crowd the outside of her right thigh with the outside of your right 

thigh. In that situation she will be unable to cross. When you stop the 

crowding and make space for her, she will cross – and you will be ready for 

it.

 

Of course, with a a lady who walks to the beat (unless  otherwise led) 

and does not cross until it is indicated, there are many more conversational 

and communicative possibilities. I’d happily discuss on another occasion the 

many possibilities that getting into and out of the cross present, but I have 

rabbited on long enough for one posting.

 

Brazos tangueros

 

Laurie (Laurence)

24‎ ‏August 2007

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