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 through his body. 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, turning his torso to make her step to his side, twirling the 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 perform a planeo, or interrupting and reversing the swivel to make her perform a boleo, and so on. The drive method is popular among feeling-oriented dancers who are drawn to the coziness of the embrace, the comforting sensation of two connected bodies moving in sync with the music, and the intimate physical interactions and soulful communication between partners. For them, tango is a highly synchronized dance. What makes a good leader is his ability to use his body to effect the movement of the woman. What makes a good follower is her ability to synchronize her movement to his. Steps are used to facilitate the embrace so that both partners can move harmoniously in the dance. Feeling-oriented dancers prefer simple steps to avoid complexity and distraction, focusing instead on the music, embrace, connection, feelings, communication, and achieving a sense of unity with each other. This theory forms the foundation of 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 a pressure on her thigh with his thigh, among others. These signals act as codes, conveying to the follower how the leader wants her to move. 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, however, is that it encourages leading with the arms and hands, diverging from the traditional drive method that uses the torso to lead. Another shortcoming is its lack of uniformity in signaling. Since each dancer may mark steps differently, following requires the woman to interpret individualized signals. This lack of standardization can lead to inconsistency, miscommunication, coercion, incoherence, and discomfort. Nevertheless, this approach has influenced tango's development. Leading with signals often produces varied reactions from different followers, compelling the leader to adapt. This shift has altered the way tango is danced, making it a less synchronized dance. The Villa Urquiza style of tango, danced in a loose embrace to allow for elaborate footwork and relying more on the arms and hands to lead, is associated with this theory.

A more unconventional theory of leading is the invitation theory, promoted by some in the West who, influenced by Western liberal ideologies such as individualism, feminism, and political correctness, oppose traditional gender roles. They advocate for dancing in an open embrace that allows for greater independence and individuality. This theory defines the lead as an invitation. According to this perspective, 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 significantly changes the way tango is danced. First, it alters the dance frame from an A-shaped frame to an H-shaped one, allowing each partner greater independence but reducing the intimacy between them. Second, the lack of torso contact forces dancers to rely on their arms and hands for communication, even though, ideally, arms and hands should remain completely relaxed and uninvolved in leading. Third, this theory only works if the woman is an experienced dancer who knows how to follow the man's torso. Otherwise, he may need to force her with his arms and hands, which can feel coercive, uncomfortable, and confusing, especially if his arm and hand movements are inconsistent with his torso (see Men's Common Mistakes in Tango). Finally, even if she knows how to follow his torso, the lack of torso contact makes the lead less direct, giving her more freedom to interpret his intentions, and in turn requiring him to adapt to her responses. As a result, their roles become more fluid, with less emphasis on traditional synchronization and greater focus on individual expression. This transition shifts tango from a feeling-oriented style to a performance-oriented one, transforming it from an intimate, connected experience into a dance centered on movement and visual flair. (See The Styles of Tango.)