[Tango-L] To lead or not to lead

[Trini y Sean (PATangoS)]

A few thoughts


Here’s the terminology I’ve used for years in teaching and
discussions.

Outside Partner:  Man is on the woman’s right side.
Inline:  Man is directly facing the woman.
Inside Partner:  Man is on the woman’s left side.

Some people are reasoning that if the cross happens
automatically in outside partner, then it should happen
automatically in inside partner.  Except that doesn’t
consider the woman’s comfort (if she ain’t comfortable, it
ain’t gonna’ happen), which differs because of the
asymmetry of the embrace, as a several people have noted.

The molinete is a woman’s default, which takes years for
her to do really well (at least 5 years, I’d say to get a
good one), which opens doors to more possibilities than
having each step being led (which really doesn’t happen,
anyway).  Changing or adjusting the default is not that
difficult if the man pays attention to timing and her hip
position. 

I’ve tested in open embrace (demonstrating it in beginning
classes) that completely novice women will usually
automatically do back-open-front if the man asks for
molinete that begins with a back step/cross.  If you start
her on a front step, she’s likely to continue doing forward
steps around you.  If you start her on a side step (unless
you’re using it to set up a back step), she’s again likely
to go forward.  Left to their own devices, women won’t do a
clean side step during a molinete, which is critical to a
good back step.  Hence, their tendency toward forward
steps.

What’s interesting, though, is that her natural tendency
during her front step of the giro and the first time she’s
invited to a cross (whether it’s the ocho cortado or a led
8CB) will be to turn her hips away and then pivot back
toward her partner.  So, what she needs to learn for the
cross is to not pivot her hips away from her partner and to
remain on one foot (she’ll normally want to revert to a
balanced 2-leg stance).  This will also keep her in time to
the music.

So in a salida, what causes me to cross or not cross? 
Quite simply, in step 4, the bottom part of my right hip is
taken past my left hip as I extend backwards, and if my
left hip is not allowed to "catch up" with my right hip, I
either cross or kick myself.  The man doesn’t even need to
turn his shoulders toward his left.  If my left hip is
allowed to "catch up" with my right, I continue walking
straight back.   That’s my current analysis anyway.

In my favorite invitation to cross (which is in
close-embrace), the man uses a slight lifting of his chest
(like taking a breath) to gently lift my left leg and moves
ever slightly to place it into the cross.  From there he
can shift my weight (like an exhale) or not, as he pleases.
 Perfect for my favorite orchestra of DiSarli, though I'm
loving D'Agostino/Vargas more and more.

Trini de Pittsburgh


PATangoS - Pittsburgh Argentine Tango Society
  Our Mission: To make Argentine Tango Pittsburgh’s most popular social dance!
  http://patangos.home.comcast.net/
   



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