Partner-Centered Leading vs. Self-Centered Leading

Tango leaders can be either partner-centered or self-centered. A partner-centered leader dances for his partner, guiding her with thoughtfulness, gentleness, patience, and attentiveness. In contrast, a self-centered leader prioritizes his own performance, often pushing his partner beyond her comfort zone.

For example, a self-centered leader might lead his partner into overly challenging movements, whereas a partner-centered leader would use natural, more manageable steps. He may urge her to chase the beats, while a partner-centered leader allows her the time to complete each step. He might focus on showcasing his own prowess and use his partner as a mere complement to his own exhibition, whereas a partner-centered leader accommodates, pampers, and elevates her—ensuring she remains the true focal point of the dance.

Here is an example of self-centered leading.

In this example, the man was preoccupied with executing routines, failing to highlight the woman’s natural grace. He prioritized his own performance over his responsibility to ensure she felt comfortable and enjoyed the dance. Hastily chasing the beats, he pressured her into abrupt steps and awkward turns, disregarding the melancholic mood of the music. Consequently, his self-exhibition overshadowed her expression, diminishing the harmony of their dance.

In contrast, a partner-centered leader dances for the woman. Here is an example of partner-centered leading.

In this example, the man did not force the woman into awkward steps, as was the case in the first clip, but instead led her through simple, natural movements. He did not focus solely on his routines and neglect the music, as was the case in the first clip; rather, he allowed her to immerse herself in the music, resonate with its sentiment, and dance expressively. He did not coerce her with his arms and hands, as was the case in the first clip, but instead embraced her comfortably and led her gently and attentively with his torso.

Unlike the first clip, he led with intention, carefully maintaining her axis and using inertia to make movements effortless for her. He did not force her to rotate on a tilted axis but adjusted his own position to accommodate her turns. Rather than rushing her to chase the beat or execute abrupt actions, he danced at a slower pace, incorporating pauses that reflected the song's melancholic mood and allowing her the time to complete each step before initiating the next lead.

These made it possible for her to focus inwardly on the feelings and the quality of her dance. Because the woman dances around the man, she must swivel her hips and pivot her lower body in order to step to his side. After each step, she also needs to rotate her hips back to prepare for the next movement in a different direction. This technique, known as dissociation, adds complexity to her movement and requires extra time to complete each step. The man must recognize this and provide her with the necessary time to finish each movement before initiating the next lead, as demonstrated in the video. We can tell her appreciation from the way she looked at him at the end.

Please watch the video again in full screen to see how beautiful a woman's dance can be when she has a good leader. I recommend using this video as a teaching tool. Every tango man, novice and veteran alike, can learn something about how to lead the woman from this video. (See The Elegance of the Mionguero Style.)

Gender Expression in Tango

Unlike in the United States, where overt gender expression is largely lost or viewed as politically incorrect, in Argentina it is celebrated as a vital part of cultural identity—evident in many aspects of life, and especially in dance.*

In chacarera, for example, the man proudly displays his masculinity, as if saying, “Look how strong and brave I am!” And the woman, in turn, expresses her femininity with grace, as if asking, “Don’t you admire my softness and beauty?”

This open and expressive display of gender is also deeply woven into their tango.

For Argentinians, masculinity and femininity are not sources of controversy but qualities admired in men and women—timeless attributes shaped by millions of years of evolution. As a unity of opposites, the two sexes are inherently interdependent and complementary. From this union emerge children, families, and communities, forming the moral foundation that upholds society through love, cooperation, role distinction, accommodation, and mutual respect. The stability and harmony of society are deeply rooted in this intrinsic attraction between the sexes. Gender expression, therefore, is not a marker of inequality or oppression, as some critics claim, but a unifying force that strengthens bonds between the sexes and sustains social cohesion.

Feminist ideology often frames men and women as separate entities with conflicting self-interests, yet it overlooks their inherent interdependence and complementarity (see Tango and Interdepence between the Sexes). The feminist assertion that “the history of mankind is a history of repeated injuries and usurpations on the part of man towards woman” is a sweeping generalization that distorts the complexity of human history.

That history is not a chronicle of gender warfare. Every man is a son to a mother and a brother to a sister, just as every woman is a daughter to a father and a sister to a brother—bound by natural love and loyalty. In fact, many societies were matriarchal long before written history began. Love and the emotional bond between the sexes has been a consistent presence throughout human civilization. While gender inequality exists, it is more closely linked to socioeconomic structures than to gender itself (see Mammonism). The solution, therefore, does not lie in erasing gender distinctions, rejecting gender roles, fostering animosity, or masculinizing women. Nor does it lie in promoting women's independence and emancipation from the family, or encouraging women's sexual self-reliance through the advocacy of lesbianism and same-sex marriage. Utopian attempts to reconstruct society along radical ideological lines have repeatedly failed, often with disastrous consequences, as they conflict with the fundamental nature of human relationships (see Tango and Gender Issues).

As John Gray writes in On Human Happiness: “If we want to achieve the perfect degree of human nature, or at least come close to it, then all rules and regulations of mankind should be adapted to human nature. Because experience proves that we cannot use rules and regulations to bind human nature without destroying happiness. The attempt to obey rules that contradict human nature is the main source of human suffering. Any effort to promote human wellness will fail without radical reform in this respect.”

True gender equality and harmony arise not from eliminating differences but from embracing them—along with the roles, expressions, and natural bonds they cultivate. Love, mutual care, cooperation, and accommodation flourish within this balance, forming the bedrock of societal stability. A thriving society is built on mutual respect, sharing, collaboration, and adaptability, rather than conflict, resentment, exploitation, or struggles for dominance. This perspective contrasts sharply with modern ideologies shaped by individualism, feminism, and adversarial power dynamics (see A Dance That Challenges Modern Ideologies).

Tango serves as a living testament to the idea that men and women are interdependent rather than independent, and that masculinity and femininity complement each other rather than create inequality between the sexes. Masculine men and feminine women are not only attractive but also contribute positively to the human ecosystem. While individualism and feminism emphasize the independence and self‑interest of a single individual or sex, tango highlights the oneness and harmony of their union. It calls for camaraderie, humility, compassion, cooperation, yielding, and adaptability. Tango demonstrates that the two sexes can form a harmonious relationship by embracing these values (see Femininity and Feminism in Tango (II)).

Gender expression is fundamental to tango also because it is inherently a heterosexual dance. Tango thrives on contrast and complementarity, with each gender contributing something distinct and essential. Tango music itself embodies this duality: its rhythm is masculine—grounded, strong, steady, and forceful, while its melody is feminine—sentimental, emotional, expressive, and beautiful. These elements intertwine, mirroring the interaction between the dancers. The man and woman are akin to different instruments. One is like the bandoneon, the other the violin. One is the passionate drumbeats, the other the lyrical melody. Each plays an irreplaceable role, and only together do they bring tango to life (see The Characteristics of Classic Tango). Attempts to neutralize or strip tango of its gendered dynamic—whether by flattening roles or redefining it as a genderless or same-sex experience—diminish its richness. Without gender distinction and expression, tango risks losing its emotional depth, energy, and poetic soul.

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*I was dancing at Club Gricel when suddenly my partner let out a cry—she had been struck by someone on the floor. Before I could process what had happened, the man from the couple who collided with us said something reproachful to me, like a male goose defending his mate. Perhaps I was at fault, so I apologized and we moved on. Later, as I was leaving the venue, that same man approached me. He shook my hand and apologized—saying it had actually been his mistake. He had needed to appear virile in front of his woman, but in private he owned up to his error. I was touched by his sincerity, and I had no problem forgiving him for being manly.

Artistic Sublimation and Vulgarism in Tango

Humans possess a unique ability: identifying the common nature or essence of things and setting aside individual and non-essential properties to form transcendental concepts. For example, the word "woman" in human thought does not refer to any specific individual female but to an abstract idea. As Carlos Gavito once said, "She's a dream of something I want in real life, but that ideal does not have a face." Abstract thinking—though it can give rise to generalized biases like racism—is a hallmark of human cognition and the foundation of art itself. Beauty, after all, is an abstract concept. By synthesizing the shared attributes of all women, we create the image of a goddess with perfect figure, face, curves, hips, legs, softness, flexibility, sexuality, fertility, character, temperament, and intelligence—an ideal lover, companion, partner, friend, wife, and mother of human offspring (see The Conceptual Beauty of Tango).

In the process of abstraction, desirable traits are often emphasized. Artistic representations, such as portraits and statues, typically exaggerate features like fuller breasts, narrower waists, wider hips, and longer legs. This tradition spans across artistic expressions. Even the Bible captures such abstraction in verses like: "Your breasts are like two fawns, twins of a gazelle" (Song of Songs 7:3) and "How beautiful you are and how pleasing, O love, with your delights! Your stature is like that of a palm, and your breasts like clusters of fruit" (Song of Songs 7:6–7). The woman herself echoes this imagery: "I am a wall, and my breasts are like towers. Thus I have become in his eyes like one bringing contentment" (Song of Songs 8:10).

Tango, as an art form, aligns with these exalted expressions. It elevates our shared humanity rather than diminishing it. A culture that distinguishes between decenct physical intimacy and vulgarity is, in my view, more civilized than one that conflates the two and condemns both. Innocent intimacy between the sexes is human, moral, and beautiful. This sentiment resonates worldwide, as seen in tango’s enduring popularity. Humanity has matured to a point where we can distinguish between healthy intimacy and obscenity. Tango women should understand that embracing their femininity to attract, please, and bring contentment to their partners is an essential part of their role in tango (see Close Embrace and Open Embrace (I)).

The same principle applies to men. As Perri Lezzoni notes in A Little Machismo Goes a Long Way: "One of the most difficult things leaders have to learn is how to put some machismo into the tango connection. The tiniest amount will do, but exuding it without offense is not easy. It is the most important spice in the stew; without it there are no women, and without women there is no tango... Machismo is the expression of a person’s inner warrior, and it is not solely manufactured by men. It is the fighter inside of us that the follower finds so alluring."

Men must recognize that what makes them attractive to women lies in the essence of their manhood, masculinity, and machismo—not in political correctness. Women naturally want to rely on our broad shoulders, melt into our strong arms, feel the strength of our muscles, admire our vitality, and enjoy our protection. It is in their nature to seduce us, capture our attention, awaken our desire, and ultimately surrender and follow. Harnessing our masculinity to support, protect, lead, comfort, and bring contentment to women is fundamental to the male role in tango (see Gender Expression in Tango).

The innocent intimacy and playful connection of tango celebrate our shared humanity. They fulfill the deep human yearning for closeness, quench our thirst for affection, and strengthen the bond between the sexes. While some critics claim that tango promotes gender inequality or sexual harassment, arguing for a "sanitized version" of tango favoring open embraces and gender neutrality, such accusations misrepresent reality. Tango dancers around the world can attest: although deeply intimate, tango is not sexual. Like ballet, figure skating, and other performing arts, tango represents an artistic sublimation. Practitioners of these art forms must distinguish between artistic sublimity and obscenity and embrace the former. For beginners, this is often the first hurdle they must overcome (see Tango and Gender Equality).

The Gender Roles in Tango

In tango, each partner assumes a distinct role aligned with their gender. These roles are disrupted when a woman resists surrendering to the man, leans away to create distance, disregards the lead, neglects her role in fostering her partner’s comfort, interferes with his lead, or initiates movements independently. Similarly, a man strays from his role when he fails to protect his partner, resorts to forceful leading, prioritizes steps over musicality, or elevates his own display above hers. Unfortunately, such behaviors are all too common in our tango.

One reason for this is that we do not teach gender roles. Unlike in Argentina, where tango is taught using the terms “men” and “women,” clearly linking each to their respective roles, in this country we adopt neutral terms like “leaders” and “followers,” allowing either gender to assume either role without a deep understanding of what the role entails or how to embody it. While this approach may seem politically correct, it does not provide students with an awareness of the roles they are inhabiting. We focus exclusively on the mechanics, neglecting to prepare students to express their genders, to embody masculinity or femininity, and to be attractive to the opposite sex. This absence of intimacy, gender expression, flirtation, and emotional interplay results in a dance stripped of its richness—a gender-neutral version of tango.

However, in Argentina, where men embody unmistakable masculinity and women exude clear femininity, tango is the very opposite of a gender-neutral dance. Argentine tango is a passionate celebration of these distinctions—it amplifies, rather than diminishes, the contrast between the sexes. Through intimate physical and emotional interaction, it fulfills the innate human longing for connection between opposites. This dance is soulful, sensual, and irresistibly seductive.

Despite modern shifts that challenge traditional gender roles, one truth remains: no one can truly excel against their nature. A woman’s innate qualities—her smaller stature, lighter frame, softer presence, and delicate movement—make it difficult for her to embody the role of a leader. No matter how technically proficient, she cannot fully achieve the strength and reliability the role demands, nor provide another woman with the unique satisfaction that only a man can. Likewise, a man’s taller, heavier, and more solid build makes it challenging for him to embrace the feminine role. He cannot attain the lightness and adaptability required of a follower, nor embody the role of a woman toward a man, regardless of his technical understanding of following (see Tango and Gender Interdependence). Tango is far more than leading and following—it is a delicate interplay of masculinity and femininity. Without these inherent qualities, tango loses its richness, depth, and allure.

So, what are the roles of men and women in tango, and how different are these roles?

The Role of Men in Tango

Men are generally taller, heavier, stronger, and physically more dependable than women. Moreover, their psychological disposition—honed over millions of years through the evolutionary pressures of a hunting lifestyle—predisposes them to initiative, dominance, conquest, control, and protectiveness toward loved ones. As a result, men naturally adopt the masculine role in tango, as they do in life. The following are some of the key functions associated with the male role in tango.

1. Leading the Woman For the couple to dance in unison and harmony, their movements must align. To achieve this, only one partner can lead while the other must follow. In tango, the man leads the woman. He does so not through force, but by conveying his intention through his torso of how he wants her to move, which she in his embrace can feel. He then matches her response to complete the lead.

2. Choreographing the Dance In tango, the man's role is strategic while the woman's is tactical. He navigates the space; she dances around him (see Dancing around the Man). He plots the dance through his interpretation of the music; she beautifies the dance with her grace and flexibility. He determines the direction, tempo, and structure, crafting a framework in which her artistry and beauty can shine to their fullest.

3. Interpreting the Music A man's musicality is the most crucial element in leading. He must dance the music, not merely the steps (see Dancing the Music, Not the Steps). His role is to help her resonate with and express the music. He should not focus solely on the steps or prioritizing his own timing over hers. Instead, he should focus on timing her movements, even this may occasionally mean that he is slightly offbeat himself. This is because he dances for her. His ultimate goal is to ensure she fully enjoys both the music and the dance.

4. Supporting Her In tango, a woman's delicacy and dependence are complemented and fulfilled by a man's strength, which is one of the reasons why tango attracts women. Although she is responsible for her own balance and stability, in practice, she often relies on his help. The man must serve as her pillar, providing support with his body to maintain her stability throughout the dance. He must be as steady as a refrigerator, as any instability on his part will undermine her trust and disrupt her performance.

5. Making Her Shine A gentleman ensures that the woman shines in his company. He leads her in a way that fully highlights her feminine beauty (see Revealing Her Beauty in Tango). He makes her, not himself, the center of attention. He refrains from showcasing his skills for self-glorification and leaving her overshadowed (see Partner-Centered Leading vs. Self-Centered Leading).

6. Protecting Her A gentleman takes his protective role seriously. He respects the line of dance, adheres to navigation rules, maintains a proper distance from other dancers, halts when necessary and does not run into people. He ensures his partner is not bumped, kicked, or stepped on by others. By the same token, he does not lead steps that could cause harm to her or others (see Spot Dancing in Tango).

7. Pampering Her It is not manly to be rude or rough with women. A gentleman treats his partner with respect, appreciation, and attentiveness. He holds her tenderly, as if cradling a baby in his arms. He leads her gently, carefully, patiently, and protectively. His aim is to make her feel cherished in his embrace, allowing her to fully enjoy the dance with him (see Men's Common Mistakes in Tango).

The Role of Women in Tango

In contrast, women typically possess a smaller stature, lighter frame, and softer, more flexible features—qualities often associated with beauty and delicacy. Their psychology also differs from men’s, shaped by their reproductive and nurturing instincts, fostering desires for beauty (to attract a mate), affection, protection, and security—traits honed through millions of years of natural selection also. As a result, women naturally assume the feminine role in tango, as they do in life. The following are some of the key functions associated with the female role in tango.

1. Surrendering to the Man The woman must entrust herself to the man. She must let go of her ego, relax her body, be obedient, and move in harmony with him. Through her surrender, she dispels his misgiving and grants him permission to be her leader. Just as the birth of a child transforms young parents into adults, she makes him a man by being a woman (see Tango and Trust).

2. Following His Lead She must remain calm and unhurried, waiting for his signal to guide her movements and following the lead one step at a time. She must not act independently, initiate steps, or disrupt his lead. However, while being obedient, she must actively engage in the dance. Following is not passive; it is a dynamic action requiring wit, ingenuity, and creativity (see Activity and Passivity in Tango).

3. Being Light and Agile She must make herself light and easy to lead, avoiding placing excessive weight on the man and becoming a burden. She must maintain her own balance without grabbing or hanging onto him for stability. She should not resist his lead, assert herself, or struggle against him. Instead, she must remain sensitive, agreeable, and responsive to his lead at all times, moving with agility (see Balancing Reliance and Lightness).

4. Dancing to the Music Women, in general, are more intuitive than men, which enables them to follow the music and lead with greater sensitivity. While the man leads the woman, his interpretation of the music may not always perfectly capture its essence. For two partners to dance in sync with the music, the woman must also contribute her interpretation of the music. A skilled follower can express the music creatively while remaining in perfect agreement and harmony with the leader.

5. Complementing the Man As his partner, she must work closely with him, highlight his strengths, and compensate for his weaknesses. She inspires him with her femininity and dances in a manner that is uplifting and infectious. She supports him when he loses balance, helps maintain the beat if he falls off timing, slows him down if he rushes, and alerts him if he is about to collide with someone. Her role is essential in preserving the coherence and integrity of the dance.

6. Beautifying the Dance A woman's slender, light, soft, and flexible body makes her a natural decorator in tango. While the man leads the dance, it is the woman who enhances it with her elegant posture, graceful movements, dexterous footwork, and colorful embellishments. A skilled follower, however, does not disrupt the lead. She maintains unity and harmony with the man while adding beauty to the dance.

7. Embodying Her Femininity The woman must dance as a woman, not as an impassive robot. She must surrender to the man and dance with affection. She should make the man feel comfortable holding her in his arms and enjoy her presence. She must willingly display her softness, gentleness, sentimentalism, and allure. She understands that her femininity and charm are the reasons he enjoys dancing with her rather than with a man. By embracing her role as a woman, she can bring out the best in a man and, in turn, be richly rewarded.

Conclusion

Gender roles are vital in tango and should not be dismissed. The distinctions between masculine and feminine roles reflect the biological, psychological, and emotional differences between the sexes. This duality enhances the beauty, charm, richness, and depth of tango. Attempts to neutralize or reverse these roles, although professedly politically correct, violate human nature and undermine the very essence of tango. To keep tango alive, we must embrace and teach gender roles that are embedded in the nature of this dance and give tango its timeless allure (see Gender Expression in Tango).

The Characteristics of Classic Tango

Dancing tango is not merely stepping to the beat of the music—perhaps that is how disco is danced, but not tango. Dancing tango is dancing the emotions embedded in the music. Sentimentality is a defining characteristic of classic tango. Created by early immigrants to Argentina, tango carries the weight of their homesickness, nostalgia, yearning, and dreams (see Tango: The Historical and Cultural Impacts). Modern rock bands with their electronically amplified instruments might be able to create a more majestic sound, but they cannot replicate the lingering sentiment of classic tango. This is not only because modern electronic instruments are ill-suited to convey the emotional depth of tango, but also because contemporary rockers lack the experiences of the early immigrants. Classic tango is a product of a specific era in Argentina. The environment of its mass production has ceased to exist in modern times, but the human emotions expressed in classic tango are universal and timeless, which people of the contemporary age, especially those struggling at the bottom, can still resonate (see Why People Dance Tango). To dance tango well, one must go beyond the steps and connect with the emotions of the music.

These emotions in classic tango reflect the experiences of the men and women of its time, represented by two distinct yet intertwined moods. Classic tango is intrinsically heterosexual in character. Its rhythm is masculine—strong, resolute, steady, and predictable—while its melody is feminine—soft, emotional, moody, and lyrical. Each phrase conveys either the strength, courage, and resolve of men, or the tenderness, affection, and obedience of women. These two contrasting moods intertwine, reflecting the dynamics between the two sexes. Dancing tango, you have to imagine you are playing music with your body. The man and the woman are different instruments—one is like a mountain, the other the flowing water; one is like the bandoneón, the other the gentle violin; one embodies the passion of the drums, the other the beauty of melody. Each, with its unique sound, expresses a distinct emotion. Both are indispensable and irreplaceable, and they must harmonize, complementing each other to create a beautiful tango (see Gender Expression in Tango).

Those who dismiss gender roles do not know what they are doing (see The Gender Roles in Tango). The so-called “new tango” or “alternative music” they advocate often lacks the contrast that defines classic tango. It is either too soft, vague in rhythm, or too monotonous, devoid of rhythmic richness. In contrast, classic tango music was crafted to serve the dance. Unlike mushy soft pop or monotonous military marches, classic tango music pulses with a strong yet flexible rhythm full of syncopation, making it remarkably danceable. By altering and varying the accented beats, syncopation creates a rhythmic richness that opens up numerous possibilities for complex footwork and allows dancers to express intricate emotions (see Tango Music and Its Danceability). Although syncopation can be challenging to grasp, leading some to prefer simpler alternative music, over time, with education and experience, their tastes will evolve and change. Tango dancers need to study tango music and familiarize themselves with its melody, rhythm, tempo, syncopation, pauses, and extensions to truly understand tango and dance well.

Most classic tango songs include a vocal part, which typically does not run throughout the entire piece but weaves in and out as if in conversation with the instruments. The lyrics are commonly written in lunfardo, the old street slang of Buenos Aires’s lower classes, expressing nostalgia, homesickness, and the pain of lost love. These are the songs of immigrants. Today, only older milongueros and a handful of porteños can fully grasp their meaning. For those unfamiliar with them, following their syncopated, drawn-out syllables can be challenging. Nevertheless, these beautiful lyrics express delicate emotions that are cherished by milongueros, many of whom can sing and dance to them with remarkable ease. This is one reason why milongueros perceive their dance quite differently from foreigners. Not understanding the lyrics is a disadvantage of the outsiders, but that is not an insurmountable obstacle. By truly listening, one can still feel the emotions embedded in the music. Of course, learning the language further enhances this understanding. By the way, some foreigners know neither the culture nor the language of tango, but they thought they understand tango better than the milongueros (see Tango and Gender Equality). To me, this attitude is not only arrogant but absurd.

Tango and Gender Issues

Part One

A reader recently commented: "I have enjoyed reading your other thoughts so much that I am very sad to read about your view of gender roles in tango. In my view, tango, like any art, is a subjective and living thing. The ability to reassign roles, to me, is a progression. It affirms that the art can and does live and breathe in our contemporary world—a world which, for most of us anyway, rejects misogyny, rejects homophobia, and encourages empathy. The art will continue to be shaped by those who choose it. I agree completely that there is much that could rightly be considered bastardization, but the exchanging of gender roles and the influence of LGBT, this represents the beauty of the art—not some kind of decay. It shows that tango lives in our time of changing gender roles and progress in human rights and understanding. And, in wonderful irony, it reflects tango revisiting its roots (see The Alienation of Tango)."

While I appreciate this thoughtful comment, I respectfully disagree and would like to clarify my perspective. In my view, gender roles are a foundational aspect of tango. If we were to change or reverse them, tango would cease to be the same dance (see The Gender Roles in Tango).

I don't believe the influence of LGBT culture or the transformation of traditional gender roles should be automatically equated with "progress." Trend and progress are not always synonymous. While feminism and homosexuality are widely accepted in much of the Western world, following prevailing trends without critical reflection can lead to unintended consequences. Tango’s resistance to this trend might, in fact, be a gift. It offers a vision of how the two sexes can engage with one another in a dynamic of harmony and mutual respect—an ideal that many find valuable, especially in an era of rapid social change. This is not to say that individuals shouldn't have the freedom to make their own choices, or that society should marginalize those who do. But it is important to recognize that individual choices do not define universal standards. It is unfair and inaccurate to claim that those who do not adopt certain gender expressions or roles are necessarily misogynistic or homophobic. Likewise, choosing not to dance tango in a nontraditional way does not make someone anti-progressive.

The central issue under discussion concerns the purpose of sex. Those who believe that sex is solely for pleasure argue that individuals can engage in sexual activities with any consenting partner, regardless of gender. From the perspective of liberalism and individualism, this is seen as a matter of personal freedom. Consequently, they advocate for society not only to recognize this as a right but also to establish legal frameworks that enable individuals to freely adopt this lifestyle.

On the other hand, those who view sex as a responsibility tied to procreation and raising the next generation argue that the aforementioned perspective and lifestyle are not beneficial for society and humanity as a whole. They contend that individualism is a flawed ideology, as humans are not isolated, autonomous entities but interconnected and interdependent social beings. The pursuit of unrestricted personal freedom at the expense of society ultimately proves detrimental to individuals themselves. The way we approach tango is not merely about experimenting or exploring new ideas. It is about choosing a way to dance that reflects our values and way of life (see Tango and Individualism).

Part Two

Although humans possess the intelligence to intervene in and manipulate nature, their limited foresight often impairs their ability to grasp the long-term consequences of their actions—a constraint rooted in the brevity of human life. Modern humans are unable to recall or fully comprehend events that occurred tens of thousands, hundreds of thousands, or even millions of years ago. Monogamy—defined as the union of one non-consanguineous man and woman—serves as a eugenic mechanism that aligns with humanity's best interests. This institution is not arbitrary but the product of millions of years of evolution, shaped by the accumulated reproductive successes and failures of countless generations. However, modern society appears to be losing sight of the validity of this institution, with alternative forms of marriage becoming fashionable. Yet, no matter how intelligent humans may be, what is rooted in nature remains the soundest, most proper, and most fitting outcome.

Natural systems have undergone extensive evolutionary development, perfected incrementally through natural selection over millions of years. In contrast, human interventions are often experimental and revolutionary in nature—frequently yielding unpredictable and sometimes disastrous consequences. Modern contraception serves as a poignant example of such intervention. By decoupling sexual activity from reproduction, contraception has shifted the primary function of sex from procreation to pleasure. This shift triggers a cascade of societal transformations. Sexual liberation encourages the normalization of pleasure-driven behaviors, including homosexuality. Consequently, traditional marriage becomes marginalized, monogamous family structures begin to erode, and the value systems once centered around family begin to dissolve—a trend already observable in many Western societies.

As the proverb goes, “A small leak will sink a great ship.” If sex is reduced to a means of personal pleasure, the rationale for restricting it on moral or structural grounds weakens. If homosexuality is accepted, why not bisexuality, transgender identities, group sex, incest, adultery, prostitution, or other forms of non-procreative sexual activity? In many Western societies, laws have been amended to legalize same-sex marriage, redefining the institution from a reproductive partnership to a union centered on personal fulfillment. If sexual pleasure alone justifies marriage, then on what grounds should marriage be restricted to non-consanguineous adults? Why should brothers and sisters, brothers and brothers, sisters and sisters, fathers and daughters, fathers and sons, mothers and daughters, mothers and sons, or other close relatives not form sexual relationships for the same reason? Furthermore, why should marriage be limited to two individuals? Why prohibit polygamy, polyandry, or group marriages? Indeed, if reproduction and the welfare of future generations are no longer the core rationale for marriage, then the very institution becomes unnecessary. Sexual activity, in this view, becomes purely a matter of personal autonomy. Proponents of this perspective argue that sexual freedom is a fundamental human right, unconstrained by traditional definitions of marriage or family. Such claims undermine the institution of marriage built upon millions of years of human reproductive practices.

However, this liberal view overlooks a key premise: marriage is not a universal right, but a privilege granted to non-consanguineous heterosexual adults precisely because of its function in ensuring reproduction and stable child-rearing, both are foundational to societal health. Various unconventional sexual relationships are contrary to the best interests of humanity and have therefore been prohibited by law—first by natural law during the prehistoric period for at least tens of thousands of years, and later by statutes during the historical period for millennia. Societies that failed to adhere to this law were ultimately eliminated through the process of natural selection.

Today, with contraception enabling consequence-free sexual activity, social norms are undergoing rapid change. In the United States, movements advocating for LGBT rights have gained significant traction. To date, sixteen U.S. states have legalized same-sex marriage. Behaviors such as homosexuality, bisexuality, adultery, and incest—which have existed throughout history but were previously practiced covertly—are now beginning to gain legitimacy and popularity due to these legislative changes. As these liberal ideas become widely accepted norms, they initiate profound societal shifts: sexual freedom, the weakening of marriage, the dismantling of the human eugenic institution, the disintegration of traditional family structures, a decline in population quantity and quality, and ultimately, the demographic replacement by groups adhering more closely to natural law. These changes mark a moral and cultural transformation of historic magnitude, unfolding most visibly in liberal, individualistic, and feminist-influenced Western societies. In embracing these ideals while discarding longstanding natural and historical principles, these societies risk repeating the fate of past civilizations that once thrived but eventually vanished when they ignored the biological and social foundations of their success.

Part Three

While homosexuals are entitled to their basic human rights, including the freedom to choose their sexual partners, it is important to recognize that the widespread adoption of homosexuality could potentially impact a population's ability to reproduce. Marriage equality—i.e., treating heterosexual and homosexual relationships equally, thereby blurring the distinctions between the two—is not, in my opinion, a good idea. It represents another significant human intervention against nature. As mentioned earlier, marriage is a eugenic institution shaped by millions of years of human reproductive practices. It is a privilege granted exclusively to non-blood-related adult men and women for the purpose of procreation. For the benefit of the human species, this privilege must be safeguarded by law. Failure to do so could have serious repercussions.

The notion of "marriage equality" suggests that gender and bloodline are irrelevant in forming a sexual partnership, that marriage need not be confined to a union between a man and a woman, and that every individual is entitled to engage in sexual relationships with anyone, including those of the same gender or family. It implies that it is ethical to have same-sex or bisexual relationships with multiple partners, that marriage is not a eugenic institution but merely a lifestyle choice, and that sex is solely for pleasure with no associated social responsibilities. This perspective also suggests that procreation and the upbringing of the next generation are not integral to the institution of marriage, that the healthy development of children does not depend on the joint efforts of both a father and a mother, and that welfare incentives designed to encourage opposite-sex marriages for procreation should also be extended to same-sex partnerships. Moreover, it emphasizes that individual rights, personal freedom, self-indulgence, and self-interest are all that truly matter. Can you imagine the impact such ideas—if promoted by the state, enforced by law, and amplified by politically motivated media coverage, TV shows, movies, popular literature, school curricula, and workplace regulations—could have on young minds and the future of humanity?

We know that introducing alien species may endanger native species, marketing genetically modified food may reduce the availability of natural food supplies, promoting tango Nuevo may inhibit traditional tango, and implementing affirmative action may result in reversed discrimination, among other examples. Instances like these are too numerous to count. It is human nature to be drawn to the new and to abandon the old. People often rush to embrace what is fashionable while disparaging what is traditional. Those who question new trends are criticized, as though what has stood the test of time is no longer valuable, while experimental ideas are praised as cutting-edge and progressive. If monogamous marriage, as a eugenic institution, were not protected, the consequences would be profound: the disintegration of traditional families, the rise of same-sex marriages, gay families, and single-parent families, the proliferation of reversed discrimination, and a decline in both the quantity and quality of the population would become inevitable.

More significantly, failing to protect traditional marriage will undermine the family-based value system upon which human civilization is built. The inherent, natural, interdependent, complementary, mutually supportive, and cooperative relationship between the opposite sexes forms the cornerstone of all human relationships. From this relationship arise children, families, societies, and the moral and political systems that form the foundation of civilization. In other words, it is through the most intimate reproductive relationship that people learn to love, trust, cooperate, and coexist harmoniously. The decline of the family will have a disruptive impact on society, as weakening family ties exacerbates the spread of individualism. This shift emphasizes personal freedom, independence, and self-interest while dismissing the interdependence and cooperation necessary for societal harmony (see Tango and Family Values). Feminism, as a parallel to individualism in gender issues, challenges the interdependence of the sexes. It advocates for women’s independence, encourages them to emancipate from family structures, to fight for their rights, to be strong and assertive like men, to compete with men, and not to be outdone by men. Such radical propositions intensifies, rather than alleviates, the confrontation and antagonism between the sexes, undermining social harmony (see Tango and Gender Interdependence). The way to improve the relationship, as tango demonstrates, is to be friendly, acceptant, kind, respectful, cooperative, agreeable, yielding, loving and accommodating to each other rather than being rejective, resentful, hostile, confrontational, aggressive, and uncompromising to each other. The recent government shutdown, caused by a refusal to make concessions, serves as a stark example of the damage inflicted by such extremist ideologies.

Part Four

The gay rights movement, individualism, feminism, and liberalism have undeniably influenced tango. Feminism, in particular, challenges the notions of surrender and obedience of women to men in tango, advocating instead for the woman to maintain her independence. It proposes that the man should offer suggestions rather than take the lead, that the woman should have the freedom to decide how, when, or whether to accept his proposal, that she is free to express herself and initiate her own steps, that the man must respect her autonomy, and even that the woman may lead the man or another woman. Some authors have written books promoting such ideas, and like-minded teachers incorporate these perspectives into their instruction. Students, often mistaking radicalism for progress, blindly follow these trends, transforming tango from a dance where the two sexes collaborate to achieve unity and harmony into one where the sexes become alienated and antagonistic, focusing primarily on individual performance.

I believe most people are not extremists. However, living in a society that “rejects misogyny, rejects homophobia, and encourages empathy,” it is difficult for anyone to remain entirely immune to this kind of indoctrination. Beginners often cling to attitudes they have developed over a long period of time, perceiving themselves as independent individuals rather than being part of a relationship with others. They tend to see themselves not as part of a whole but as separate entities and regard others as rivals. Most people, after a period of learning, gradually overcome this self-centered mindset and adopt a cooperative attitude that aligns with the essence of tango. However, there are some who are unable to transcend their individualistic mentality even after years of practice. Contemporary students need to understand that learning tango involves adopting a set of values that differ fundamentally from those of the modern world. The world prioritizes competition and victory, whereas tango emphasizes cooperation and harmony. The world teaches that balance is achieved through strength and power, but tango teaches that balance is attained through collaboration and accommodation. Tango is not about personal autonomy, independence, individual liberty, or self-interest; it is about achieving unity, harmony, and the common good of the partnership through cooperation. The principles of tango—such as surrender, obedience, yielding, agreement, collaboration, accommodation, complementarity, and love—not only enable the two partners to dance in unison but also offer universal values for living together in peace and harmony (see A Dance That Challenges Modern Ideologies).

Whenever cooperation is involved, a division of labor becomes necessary. For example, in families, men typically take on more physically demanding tasks, while women tend to handle lighter chores. Such a natural division of labor is based on the physiological differences between the sexes and is in no way a form of discrimination. In tango, the man leads, and the woman embellishes the dance—this, too, is a natural division of labor rooted in the biological characteristics of the sexes, and it does not imply gender inequality. Does it seem natural to you for a woman to lead a man while he embellishes the dance? When you see a woman leading a man, with the man wriggling his body and twisting his hips in an attempt to appear feminine, does that look beautiful to you? When observing same-sex couples dancing, where there is only femininity and no masculinity, or vice versa, does that feel aesthetically appealing? Tango is governed by the principles of dance, not by ideologies. I need not repeat what I have elaborated on in my other articles regarding gender roles. Please refer to the following articles if you haven’t already read them: The Gender Roles in Tango, Femininity and Feminism in Tango (I), Femininity and Feminism in Tango (II), Tango and Gender Equality, Gender Expression in Tango, Tango and Gender Interdependence. I firmly believe that those who are not influenced by narrow-minded or extremist ideologies will not see such a division of labor as discriminatory against women. Male chauvinists might use the division of labor as evidence to claim male superiority and female inferiority, which is absurd. Feminists, in turn, aim to abolish or reverse gender roles, which is equally unreasonable.

I believe tango is a positive influence on the Western world. Real social progress is not radical but rational, moderate, gradual, and peaceful—much like nature itself. In its essence, nature is not revolutionary but evolutionary, fostering coexistence, balance, and harmony. It encourages the recognition of connections among various elements and the abandonment of radical ideologies such as individualism, feminism, liberalism, and power politics. Nature calls for prioritizing communal interests over self-interest, integration over segregation, adaptation over antagonism, moderation over extremism, compromise over obstinacy, love over hatred, and peace over war. In other words, nature stands in opposition to the extremist tendencies often found in Western ideologies that go against its principles. Tango embodies these natural principles, illustrating how the two sexes, as a unity of opposites, can coexist harmoniously through mutual attraction, interdependence, complementarity, accommodation, collaboration, and love. These qualities are key to its enduring popularity. Tango helps individuals understand the harm of hostility and the benefits of cooperation. It offers valuable lessons on living together in peace and harmony, making it a meaningful contributor to true human progress (see Tango: A Quiet Revolution of Connection).

Femininity and Feminism in Tango (II)

When a man and a woman dance tango, something mysterious unfolds—feelings, attraction, chemistry, synergy, and romance. The allure of tango lies in the dynamic interplay between the sexes: the man leads, creating space for the woman’s femininity to shine; the woman responds, surrendering to his lead with a grace that pleases, comforts, and rewards. Together, they complement one another, each enhancing the other's presence.

Some argue that anyone can dance either role equally well, given the opportunity (see comment). I have my doubts. Men are not inherently suited to the feminine role—not because they cannot take on this role, but because they are fundamentally masculine. A man lacks the soft, light, and flexible body of a woman, as well as the psyche shaped by her reproductive nature—her instinctive need for beauty (to attract a mate), affection, and security. These traits influence how women dance. Conversely, women do not possess the physical build and strength of men, nor do they have the male psyche shaped by men’s hunting instincts and their drive for initiative, control, and protection of their loved ones. If men and women were naturally inclined toward opposite roles, tango would have evolved differently.

Near my home, a female goose nests beneath a tree while her mate stands guard, ensuring she remains undisturbed. Whenever I pass by, I must take a detour—the male goose will not let me near. His protective instinct is unwavering. Could their roles be reversed? Perhaps. But would it feel natural? Likely not. Masculinity and femininity are essential traits, deeply embedded in the survival and well-being of any species. The male is typically strong, assertive, and protective—a guardian and provider. The female, in contrast, is soft, nurturing, and affectionate—a caregiver and mother. These qualities foster attraction, sustain relationships, and create stable environments for offspring.

Yet, many fail to appreciate the wisdom of nature, attempting to rewrite what has evolved over millions of years. Interfering with the natural order often leads to disastrous consequences: climate change, environmental degradation, mysterious diseases, infertility, birth defects, gender role disruptions, and the breakdown of the family and its value system (see Tango and Gender Issues). Those who presume to be wiser than nature—or God—inflict real harm with their misguided interference.

Good values are grounded in what benefits humanity as a whole, rather than serving the interests of a single individual or gender. The flaw in both individualism and feminism lies in their narrow perspectives; they focus on the desires of one person or sex, neglecting the well-being of the species as a whole. Consequently, they confuse the good with the evil and the beautiful with the ugly. Greed is ugly yet often justified as the pursuit of happiness. Selfishness is unappealing yet is framed as a rightful assertion of personal rights. Arrogance is unattractive yet is clothed in the guise of self-confidence. Masculinity is admirable yet is vilified as sexism. Femininity is appealing yet is dismissed as weakness.

Such ideologies challenge the traditional way tango is danced, branding it as male dominance or gender inequality (see Tango and Gender Equality). They advocate for a style of tango that eliminates gender distinctions: men no longer lead but merely suggest (see Three Theories of Leading in Argentine Tango); women no longer surrender but remain independent, even initiating or interrupting; the close embrace gives way to an open hold, allowing for more individuality and autonomy; and role reversals and same-sex partnerships are encouraged. As a result, tango is transformed into something that is no longer tango.

Argentine tango embodies the idea that men and women are interdependent rather than independent (see Tango and Gender Interdependence), that masculinity and femininity complement each other rather than create inequality, that being a masculine male and a feminine female is attractive, beneficial, and desirable, that harmony between genders is achieved through mutual respect, submission, accommodation, and cooperation—not antagonism, animosity, confrontation, or power struggles, and that love triumphs over hostility. While individualism and feminism emphasize the independence of an individual person or gender, tango focuses on the solidarity and harmony of their union. It calls for kindness, camaraderie, submission, humility, adaptability, cooperation, agreeableness, and yielding. Tango demonstrates that men and women can form a harmonious relationship by embracing these values. Despite the challenges tango faces in the West, it continues to influence lives positively; without these shared values, we cannot fully enjoy either the dance or the relationship between the sexes. (See A Dance That Challenges Modern Ideologies.)