Women's Common Mistakes in Tango

1. Resistance to Surrender
For two people to move as one in tango, there must be a clear leader and a willing follower. If both try to lead, their movements inevitably clash. In the follower’s role, a woman must set aside her ego and attune herself to the man’s lead. Beginners often struggle with this surrender—like a newlywed who is still getting used to being single and needs some adjustments to become a qualified wife. It often feels more comfortable dancing with a married woman than a single girl, because the latter is still too self-focused. Learning tango isn’t just memorizing steps—it’s learning to surrender and be one with the man. A woman who prioritizes her own impulses over the lead cannot dance tango well.

2. Leaning Back
Women who are uncomfortable with physical closeness often resist surrender by pushing the man away with their arms or leaning back instead of into him. This transforms the embrace from a close, A-shaped connection to a more distant, H-shaped frame, diminishing the intimacy, physicality, and emotional depth that tango requires. Without a firm connection through the torso, communication shifts to the arms and hands, becoming strained, forceful, and inefficient—often resulting in awkward, uncoordinated movement.

3. Interfering with the Lead
Some women bring an overly strong sense of self-awareness and independence to the dance. They assert themselves, resist the lead, move autonomously, and at times even initiate steps. This approach conflicts with the essence of Argentine tango, which is grounded in intimacy, surrender, connection, and mutual cooperation—not individual performance. In tango, the woman’s movements are not self-initiated but emerge in response to the man’s lead. While she may add embellishments, her adornments must support and harmonize with his guidance, not compete with it.

4. Anticipation
Beginners often move in anticipation rather than waiting for the lead—chasing the beat, stepping too early, or continuing a sequence (like finishing the other half of an ocho) without being prompted. While an experienced leader might adjust, such actions can still disrupt the flow of the dance. With a less skilled partner, these moves often result in conflict. Instead of guessing, women must cultivate the discipline to wait—dancing step by step in response to the lead, rather than acting on assumption or prediction.

5. Overuse of Arms and Hands
Novices often rely on their arms and hands to dance—gripping their partners for balance or to help them with their moves. In my experience, this is one of the most disruptive habits among beginners. Women must learn to receive lead through the torso and execute steps independently of their arms and hands. Once they stop relying on their arms and hands and begin to follow through the torso instead, the dance becomes far more fluid, connected, and enjoyable. (See The Functions of Various Body Parts in Tango.)

6. “Spaghetti Body”
The woman should move the core of her body so her entire body moves as one coherent piece. She should not only move the part of her body that receives the lead. For instance, when she feels the push on her chest that tells her to move back, she should move her whole body back and not just bend her torso back. When she is led to move to the side, she should move her whole body to the side and not just bend her torso to the side. She should maintain a straight, resilient posture, rather than a limp, wobbly one.

7. Heaviness
While body weight may play a role, heaviness in tango is more often a matter of poor technique. Beginners tend to hesitate, cling to their partner for support, or even resist and wrestle through movements—making them feel heavy. Women must learn to relax, maintain their own balance, respond to the lead without hesitation, and move in harmony without clinging or resisting. A woman who is well-balanced and dances lightly is highly sought after by men. (See Issues on Balance and Lightness in Dance.)

8. Weak Connection
Tango is danced through feeling. The man relies on sensation to know where his partner's axis is，whether she has switched feet, completed a hip rotation, or finished an embellishment. This allows him to decide how to lead the next step. If he cannot feel her, it's easy for him to give a conflicting lead. If she cannot feel him, it's easy for her to follow incorrectly—failing to do the cruzada, failing to change weight when necessary, or adding a step when she shouldn't. Women experiencing such challenges need to improve their embrace and connection, enabling the man to feel them and allowing themselves to be more sensitive to his lead (see Why Women Fail to Do Cruzada).

9. Failing to Return to Home Position
After a dissociative movement such as an ocho, the woman must promptly realign—swiveling her hips back and collecting her free leg to restore the default symmetry. Failure to do so, often due to anticipation or pre-judgment, can cause delays and disrupt the flow of the next step—a common mistake among many women. Cultivating the habit of returning to the home position immediately after each step is essential for smooth, responsive dancing. (See: Dissociation and the Gear Effect).

10. Unrefined Musicality
Tango movement includes not just the main steps but also subtle actions like pivots, weight changes, leg collections, and adornments. Beginners often match the beat with their steps, but their supporting actions fall out of rhythm. It is essential to understand that dancing to music means all movements, including supporting ones, align with the rhythm, tempo, and mood of the music. Cultivating refined musicality is a long-term endeavor, but it is the most fundamental and important skill a dancer must develop.

11. Lack of Agility
Tango music is structured in four beats per measure—downbeats on the first and third, upbeats on the second and fourth. Typically, dancers step on the downbeats and execute supporting actions on the upbeats. But advanced dancing often involves quicker execution—one leg taking a step while the other performs an embellishment simultaneously. Skilled dancers can move fluidly and swiftly. This allows them to dance with ease and incorporate embellishments effortlessly. Beginners, however, often hesitate to move, limiting them to stepping only on the downbeats. They struggle to execute actions on successive beats, let alone perform two actions within a single beat.

12. Passivity
Following is not passive. It requires alertness, sensitivity, agility, and creativity. Beginners who lack confidence often follow timidly or mechanically, sometimes with indifference or emotional detachment. With such passivity, it is impossible to dance tango well. A good follower is fully engaged and giving her all. She contributes her presence, energy, and personality while remaining in sync with her partner. (See: Activity and Passivity in Tango.)

13. Gender Neutrality
Some women bring political correctness into tango. They deny gender differences, refuse to surrender, disobey the lead, prioritize individual performance, reverse roles, and promote same-sex partnerships. If that’s your preference, then good luck. But if Argentine tango is your goal, you must learn to be a competent follower. In Argentine tango, the woman assumes the feminine role: she surrenders to the man, follows his lead, beautifies the dance through her graceful movements, and pleases him with her femininity. The relationship between the two sexes is meaningful only when they embrace their gender. Without femininity, tango loses its charm, richness, beauty, and the essence of its existence.