Tango is not just a fascinating dance—it is a rich philosophy, culture, and way of life. The search of tango is the search of connection, love, fellowship, unity, harmony, and beauty—an idealism that is not consistent with the dehumanizing reality of the modern world. The world divides us into individuals, but tango brings us together as a team. In tango we are not individualists, feminists, nationalists, Democrats, or Republicans—we are simply human, intertwined and interdependent. Tango invites us to tear down walls, build bridges, and rediscover our shared humanity through connection, cooperation, accommodation, and compromise. It is a dance that reminds the world how to love.



October 8, 2012

Three Theories on Leading


The traditional theory of leading in Argentine tango is the drive theory, which defines the lead as a driving force. According to this theory, the man acts as the "driver," guiding the woman’s movements with his torso. This approach reflects traditional gender roles and the macho culture of Argentine tango: the man holds the woman gently yet firmly as she leans slightly forward, resting in his embrace with her chest against his and her arm around his shoulder. In this setup, the woman does not need to plan or initiate steps; she simply surrenders, allowing him to lead her movements. Through the torso-to-torso connection, he can easily guide her by propelling her forward, rotating his torso to make her step to his side, twirling his torso clockwise or counterclockwise to make her revolve around him, swaying her torso to bring her free leg to swing, swiveling his torso to make her produce a planeo, or reversing the swivel to elicit a boleo, and so on. The drive method is popular among feeling-oriented dancers who are drawn to the warmth of the embrace, the sensation of two connected bodies moving in sync to the music, and the deep, soulful communication between partners. For them, tango is a highly synchronized experience. What makes a good leader is his ability to use his body to shape the movement of the woman. What makes a good follower is her ability to synchronize her movement to his. Steps serve primarily to facilitate the embrace, allowing both partners to move harmoniously. Feeling-oriented dancers prefer simple steps to avoid complexity and distraction, focusing instead on the music, connection, feelings, communication, and achieving a sense of unity. This theory underpins the milonguero style of tango.
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An alternative theory is la marca theory, which defines the lead as a series of signals or marks. In this approach, the lead might involve a push on the follower's palm, a pull on her back, a tap on her side, a drag of her hand, a sideways application of strength with his arms, or contact from thigh to thigh, among others. These signals act as codes, conveying the leader’s intentions. According to this theory, “Mastering tango is mastering the making of signals” (Tango: The Art History of Love, by Robert Farris Thompson). One disadvantage of this method is that it encourages leading with the arms and hands, diverging from the traditional drive method that uses the torso to lead. Another issue is the lack of standardized signaling: each dancer may develop their own marks, requiring the follower to interpret idiosyncratic cues. This variability can lead to inconsistency, miscommunication, and discomfort. Nevertheless, this approach has significantly influenced tango’s evolution. Because signals often produce varied responses, the leader must be flexible and responsive, shifting tango toward a less synchronized and more reactive dance. The Villa Urquiza style of tango, characterized by a looser embrace and an emphasis on footwork guided more by the arms and hands, is closely associated with this theory.




A more unconventional theory is the invitation theory, promoted by some in the West who, influenced by liberal ideologies such as individualism, feminism, and political correctness, challenge traditional gender roles. Advocates of this approach prefer an open embrace that allows for greater independence and personal expression. This theory defines the lead as an invitation—the leader's role is to offer proposals, while respecting the follower's choice in how she responds. The process is described as follows: “The leader ‘invites’ the lady to enter a room. She accepts the invitation and, in her own time, enters, and he then follows. In a sense, therefore, the leader has become the follower” (A Passion for Tango, by David Turner). This approach changes tango in several fundamental ways. First, it alters the embrace from an A-shaped frame to an H-shaped one, allowing each partner greater independence but reducing the intimacy between them. Second, the absence of torso contact forces dancers to rely on their arms and hands for communication—even though, ideally, these should remain relaxed and uninvolved in leading. Third, this method only works if the follower is experienced enough to interpret subtle torso cues. Otherwise, the leader may resort to using his arms and hands, which can feel uncomfortable, coercive, or confusing when his arms and hands move inconsistently with his torso (see Men's Common Mistakes in Tango). Finally, even if the follower can read the torso, the lack of direct contact makes the lead more ambiguous, giving her greater interpretive freedom and requiring the leader to adapt to her responses. As a result, their roles become more fluid, with less emphasis on synchronization and greater focus on individual expression. This shift transforms tango from a feeling-oriented, intimate experience into a performance-oriented dance centered on visual flair and personal style. (See The Styles of Tango.)