Paola Tacchetti

Zhou Dunyi (1017–1073), a Confucian scholar of the Northern Song Dynasty (960–1127), wrote a beautiful essay titled On the Love of the Lotus. Below is an English translation:

"There are many kinds of lovely flowers and plants. Tao Yuanming of the Jin Dynasty loved only chrysanthemums. Since the Tang Dynasty, admiration for peonies has become fashionable. But my favorite is the lotus: it emerges from the mud unstained, bathed by clear waters yet never coquettish. A symbol of purity, modesty, and perfection, it stands serenely, its fragrance spreading far and wide—something to be revered from a distance, not to be sullied. To me, the chrysanthemum is the hermit among flowers, the peony the aristocrat, and the lotus the true gentleman. Alas, few have loved the chrysanthemum since Tao Yuanming, and none love the lotus as I do. The peony, however, is adored by many."

This passage came to mind the first time I saw Paola Tacchetti dance tango. It was many years ago in Buenos Aires. She was still very young then, dancing socially at Salon Canning. Amid a crowd of seasoned dancers, she stood out—like a lotus rising gracefully above the water. Her partner, a well-known milonguero, kissed her hand after their dance, a gesture of admiration that left a lasting impression on me.

I was reminded of the essay again recently while watching some old videos of Paola dancing from that same period. Her style captivated me then, and it still does now. She dances with an effortless authenticity, free of pretense. There is a quiet, intrinsic beauty in her movement—one that stands in stark contrast to the contrived and showy trends so common today. Such innocence in tango is rare nowadays.

Tango reflects a dancer's character, values, aesthetic sensibilities, and taste. True beauty is like the lotus—natural, simple, modest, authentic, and gentlemanly in spirit, never ostentatious or arrogant. I hope Zhou Dunyi’s words might inspire more dancers to embody this spirit—just as Paola Tacchetti does, especially in our current age of spectacle and artifice.

Learning from a Talented Tango Girl

I was impressed by the skills, musicality, control and grace this little girl displayed in her dance, and believe adult dancers can learn something from her.

Here are few highlights from this dance.

Salida with forward step (0:07-0:14)
In a normal salida, the two partners step in parallel to the same side. But in this case the man alone took a side step to the left, while the girl swiveled her hips and took a forward rather than side step with her right leg, enabling her left leg to take another forward step and pivot, and her right leg to do a slow and beautiful planeo.

Split-leg turn and sandwich (0:26-0:31)
Most adult dancers do not spread their legs like a compass when turning, but this girl does that a lot, and she does it often in a reduced speed, adding grace to the movement. In this example, her split-leg turn is followed by a pause as the man sandwithed her, she then collected her leg and did a delicious curtsy, all executed flawlessly.

Barrida (0:33-0:36, 1:32-1:37)
The girl stepped forward with her right leg (or in the second case stepped back with her left leg) to allow the man to do a barrida—sweeping her right leg to the right with his right leg. She followed by collecting her left leg until her foot touched his foot, then crossing over to land on the other side of his foot. Barrida is generally an unobtrusive move, but her execution left an impression on me, mainly due to her control over the speed of the movement.

Ocho in slow motion (0:36-0:41)
Here the girl did an ocho at a deliberately slower pace. She knows how to dance fast, but she chooses to do some moves in slow motion, showing very good judgment. Most adult dancers don't care if they actually draw an 8 on the floor when they dance ocho, but this girl did just that carefully, making her ocho particularly beautiful.

Planeo (0:43-0:45)
This is another elegant planeo, also executed in slow motion. Adult dancers tend to exaggerate their movements, such as lowering the knee to create a larger planeo that is closer to the ground. But this girl's movements all look natural, without exaggeration, and the result is better, in my opinion, with innocent beauty.

Moving backwards with front ocho (1:40-1:45)
Another example of ocho at slower pace. This time she used greater hip rotation to move backward with a front ocho. Most adult dancers turn too hastily, so their ocho lacks the beauty it deserves. This girl, however, is particularly good at using slow motion to show the grace of her movements, espcially when involving rotation, demonstrating excellent musicality, control, and aesthetic sensibility.

Sandwich (2:10-2:19)
Another sandwich in slow motion with a captivating deep knee flexion.

Overall, I was very impressed by this little girl's sophistication, or rather, talent. I hope that adult dancers can learn the ease with which she dances, in particular, learn to slow down the pace when doing turns, pivots, ochos, and planeos, because, as this little girl demonstrated, that will add grace to the dance. This especially means that leaders also need to slow down the pace to allow followers to infuse elegance to their performance.

Tango and Gender Interdependence

Human values that prioritize the welfare of humanity as a whole serve the interests of both men and women, highlighting their interdependence. When attempts are made to sever this mutual relationship in favor of an isolated sense of selfhood or independence—whether stemming from patriarchy or feminism—they ultimately undermine societal harmony. A human-centered value system accentuates cooperation between the sexes and among individuals. In contrast, contemporary ideologies, rooted in individualism and feminism, often emphasize individuality and competition in gender relations. While these ideologies aim to address women's unequal treatment by advocating for gender independence and empowerment, their perspective remains limited. (See Tango and Suffering: A Pathway to Liberation.)

Feminism often opposes women's reliance on men, viewing it as a flaw. However, this dependence—rather than being detrimental—is a natural outcome of evolutionary processes that foster sustainable relationships benefiting both the species and its offspring. Fundamentally, men and women are created to complement one another. Male androgens enhance physical strength and competitiveness, equipping men to be effective fighters and protectors, while female estrogen fosters qualities of softness and emotional sensitivity, making women nurturing mothers.

The two sexes are a unity of opposites in the human ecosystem. Each possesses distinct biological characteristics, strengths, limitations, and perspectives, bearing unique responsibilities and engaging in collaborative efforts. Each gender contributes unique forms of emotional support and companionship, bringing different qualities to a fulfilling life. They are indispensable to each other. The happiness of either gender relies on the presence and contributions of the other; neither can flourish in isolation.

Women’s delicacy and beauty evoke desire in men, fostering human connection and continuity. Their tenderness complement and temper men’s strength, nurturing mutual attraction. While women’s smaller size and fragility may suggest dependence, these traits also heighten sensitivity to others' vulnerabilities, making them great caregivers. Their hormonal fluctuations linked to fertility and the need for support during pregnancy and childbirth further shape this dependence, a dependency that is not inherently negative. Women’s delicacy and reliance motivate men to assume greater responsibility, strengthening bonds and creating deep mutual fulfillment.

Men also rely heavily on women in numerous areas, including romance, companionship, household management, emotional support, parenting, elder care, and much more. Women contribute qualities such as soft-heartedness, attentiveness, emotionalism, and aesthetic sensibility that enrich the realms where men benefit from their input and contribution. This mutual dependence between the sexes enrich lives, fosters shared understanding and care, fortify emotional bonds, and supports a balanced partnership built on shared responsibilities.

Masculinity and femininity are valuable and fulfilling qualities honed over millions of years of evolution, drawing the sexes toward one another. These complementary traits lay the groundwork for harmonious relationships, help create a secure environment for raising children, contributing to a balanced and cohesive society. Conversely, ideologies that obscure or deny these intrinsic differences—by promoting women’s independence and empowerment, encouraging them to reject their femininity and imitate masculine traits, or by inciting conflict between the sexes—undermine this harmony. Such approaches erode the natural balance essential for connection, cooperation, and societal well-being.

The complementarity and mutual attraction of the sexes have long been a source of artistic inspiration. Tango, perhaps more than any other dance, embodies and celebrates this dynamic. Through intimate physical and emotional interaction, tango artfully balances women’s delicacy with men’s strength, providing profound satisfaction to both partners. Women are drawn to tango as it allows them to express dependence and attachment, while men find fulfillment in the trust and allure that women exude.

Years of observation and experience have shown me that the most profound tango nourishes the innate needs of both sexes, rather than merely captivating the audience. Skilled tangueras express women's delicacy and dependence on men while bringing men contentment with their femininity. Similarly, adept tangueros fulfill women's needs for attachment and dependence while allowing their feminine beauty to radiate. Mastering these dynamics—and the art of satisfying one's partner—is essential for every tango dancer, regardless of gender, and should be the pursuit of all tango learners. (See Gentleness Is a Power.)

Dancing with the Hips

In tango, the woman typically dances around the man while he navigates the dance floor. Because their torsos remain connected in the embrace, she must rotate her hips to step to his side or revolve around him. This technique—known as dissociation—is fundamental to her role. It harmonizes with a woman’s natural flexibility, broadens the range of her movement, and heightens the visual appeal of her dance.

In most situations, dramatic hip rotation is unnecessary. A swivel of about 45° usually suffices for the woman to step with her right leg to the man’s right side or her left leg to his left. Yet in certain figures—such as the molinete, back sacada, and gancho—a greater degree of rotation is required. From an artistic standpoint, pronounced hip movements can accentuate feminine qualities. As a result, some women deliberately widen their hip rotation for enhanced expression.

Hip rotation suits women especially well because their bodies are more flexible. It not only increases the variety of their movement but also reflects the physical foundation upon which many female tango steps are designed to showcase their beauty.

The free mobility of the hips highlights the suppleness of the female form, allowing her to glide around her partner with agility while maintaining a firm connection. A skilled follower can swivel her hips beyond 90°, enabling seamless transitions in any direction—even moving backward in a front ocho or advancing forward in a back ocho. Mastery of this technique refines her control, deepens her expressiveness, and elevates the aesthetic quality of her dance. Women who excel in tango often stand out for their refined control and expressive hip work.

Dancing with the hips also enhances the physical interaction between partners. When the woman rotates her hips in the embrace, her torso glides or rolls gently against her partner, creating a comfortable sensation known as the gear effect (see Gear Effect: The Secret Language of Tango). This intimate interaction transforms the embrace into a living dialogue and gives tango its timeless allure.

Despite its importance, hip rotation is one of the most overlooked techniques among beginners. Many tend to rotate their entire bodies instead of just their hips. Some simply cross one leg in front of or behind the other to bypass hip rotation, resulting in stiff movements that lack the signature elegance of tango. Others neglect to turn their hips back after a swivel, which can delay or even hinder their next move.

To truly master tango, dancers must unlearn these habits. For women, especially, hip rotation lies at the core of their role in enhancing the artistry of the dance. They should seize every opportunity to incorporate hip rotation into their movements. Since the man’s lead is often subtle, women should respond with a little bit of exaggeration. For instance, when she feels the man slightly twist her torso, she should make a noticeable rotation of her hips. When he leads her in a zigzag pattern, she should magnify her hip rotations from side to side. When he steps to her side, she should rotate her hips rather than merely crossing one leg behind the other.

Hip rotation benefits men as well. It allows them to maintain a strong upper-body connection with their partner while leading with precision and subtlety. Since partners constantly shift orientation, the guiding principle remains that their torsos must always face each other while their lower bodies, through dissociation, move freely around one another. The more flexible the hips, the more fluid and connected the dance becomes. Mastering this technique is therefore fundamental for all tango dancers.

Why Women Fail to Do the Cruzada

Tango dancing begins with a four-step routine called the salida, which is done diagonally to the woman's right and ends with the woman's cruzada. The first step of the salida is a side step. During the second and third steps, the man walks to the woman's right, creating the need for her to regain a symmetrical position in line with him. The most convenient way for her to recover that position is by crossing her left leg in front of her right leg on the fourth step. There is no other cue signaling her to cross, except that he is on her right. In other words, the woman needs to rely on her sense of equilibrium to restore alignment by executing the cruzada.

Tango dancers must constantly perceive and adjust their body positioning relative to their partner. A well-developed sense of equilibrium is essential, as it not only provides women with balance, stability, and control over their movements but also heightens their awareness of positional changes in relation to their partner, enhancing their ability to maintain proper alignment and weight distribution in partnering work. Women with a strong sense of equilibrium can instinctively cross their left leg in front of their right when they feel the man walking to their right. However, those with less developed spatial awareness often miss this cue and fail to perform the cruzada. For these dancers, practicing the salida helps develop the habit of executing the cruzada when the man walks to their right.

A poor embrace can further reduce a woman’s sensitivity to positional changes. Some women place their bodies too far to the right of the man’s, hugging his right side with their left arm, creating a misalignment that disrupts their sensitivity to the man’s lead when he tries to initiate the cruzada by walking to their right. Similarly, beginners using an open dance hold often fail to perceive subtle changes in their partner's body position due to the lack of physical contact. Both scenarios may result in the woman not performing the cruzada when she should.

The correct embrace is centered, square, and symmetrical, with both partners facing each other chest-to-chest. His left hand holds her right hand at shoulder height; his right arm wraps around her body, while her left arm rests around his right shoulder (see The Heart of Tango: Mastering the Embrace). This embrace not only provides utmost comfort and perfect alignment but also maximizes bodily connection, allowing the woman to clearly feel even the subtlest movement in the lead. As a result, when he walks to her right, she will instinctively reposition herself with the cruzada, restoring alignment with him.

In my experience, failure to execute the cruzada is a common issue—even among experienced dancers. Probably one-third of the women I dance with fail to execute the cruzada from time to time, even though they may not realize it. Yet the cruzada plays a crucial role in tango: by adding an extra step, it enables the woman to shift her weight and tranfer between the parallel and cross systems. Because this affects how the man leads the next step, it is vital that the woman performs the cruzada when the man signals it by walking to her right.

Developing a reliable cruzada involves more than just repetition. It requires cultivating a strong sense of equilibrium, adopting a proper embrace, maintaining body alignment, remaining attuned to the partner’s position, and practicing the salida with intention. These elements, working together, form the foundation for mastering one of tango’s most essential movements.