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Ⅰ have been thinking quite a bit about dance technique these last weeks/months, and combining the stuff Ⅰ am learning in my ballroom training as well as my experiences in argentine tango Ⅰ have realized some essential differences as well as similarities and came to a conclusion that each of the partner dances Ⅰ looked at was defined by technical aspects that limited their possibilities – which in turn created the styles in the beginning.

It all started with one question:

##“What is Tango?“

Ⅰ believe that Argentine tango, if you put all esoteric background, philosophies and restrictions of its codex aside (which ⅰ think one should when talking about the dance – from a technical perspective), can be defined as:
* a partner dance
* danced in an embrace
(loose as well as close – with all degrees in between)
* that almost allows complete freedom of movement
(such as step asynchronicities, crossed foot system, drags, lifts)
* and music interpretation on both rhythm and melody
* which also allows for breaks and pauses
* has adornments
* whose expression is mostly done in foot-movements as well as whole-body movements but less in taking space
* whose expression is usually more introvert than extrovert

Now if you ask me „What are the important parts in argentine tango“ Ⅰ would reply: When Ⅰ dance tango, there is the *music*, my *partner* and *myself* – we form one *union* on the *dance-floor*. These are the essential parts to dancing tang and keeping the characteristics of the dance. Ⅰ would like to add that when Ⅰ say *music* Ⅰ do not limit this to traditional tango music, nor even to tango music in general – but any music that inspires the dance couple to move. The dance itself from a technical point of view is a set of tools for expressing something. The music greatly influences the use, selection and execution of these „tools“ – thus there is quite a difference how one would dance tango to different music – but dancing argentine tango to argentine tango music is not the only option.

(and Ⅰ do not want to start a discussion about musicality here. Ⅰ only want to note that Ⅰ do not use all elements and steps of tango when dancing to other kind of music as they do not always fit the character of the music. But, as in all cases, this depends on very much more than just the music.)

##The rule set in dancing
In any dance style there are certain rules. Those rules provide a general limit to what kind of movement is possible, how it is achieved (as in posture, lead/follow mechanism, use of momentum, …).

The term „dance style“ is used a bite more general than usually, such as „latin“, „standard“ or „argentine tango“ – not as specific as „cha cha“ or „rumba“ – as those are basically just variations that depend on the type of music played – this is where the „characteristic features“ of the music come into play. They determine even more how the dances are danced, how the mood and expression of steps and other movements are.
(Ⅰ am not sure if my use of terms is well thought out in this case as the terms already have some other meaning in a similar context – maybe Ⅰ will need to come up with different terms.)

* *International style ballroom – the swing dances*

There is a certain posture, a certain orientation within the couple, a certain pool of expressions for movement, poses, movement technique., etc. All because these dances require the use of momentum, swing, sway etc. These physical basics of this style allow for certain movement and characteristics – this is also reflected in the type of music that is played.
Most of the dancing is done in terms of swing – within the measure of the music, not the beat and rhythm (of course there are exceptions).

The main character of these dances is in flowing movements that span large distances; momentum is used for travelling as well as rotations.

* *International style latin*

different sets of rules for posture, lead follow, expression etc… also reflected in its music. Dancing is usually more to the various rhythms within the music. Melody plays less of a role – or at least that is what Ⅰ see mostly… (Ⅰ could be wrong as Ⅰ am not the „latin dancer“ by heart).

The main character of these dances is in the relationship between the dancers, the expressions comes from „show“ and/or „story“ between the dancers.

* *Salsa*

The numerous salsa styles are quite different yet similar. Dancing is done to the various rhythms much more to text or melody.

There are many elements of „story“ between the dancers as well as „show“, „show-off“ (open shines).

* *Argentine Tango*

The music is usually quite rhythmic and melodious and dancing can be on both levels – both rhythmically and melodious (and thus somehow combining the „ears“ and „likes“ of standard and latin music/dances) – it can switch from one level to another as often as the dancers like, it can have elements of both at the same time (both partners on different levels or with adornments on the other level than the general movement).

The main focus is on expressing the music, maintaining a connection between partners. There is less „show“ than in the latin dances/salsa, almost no moments in which the dancers do separate actions (showing off). There can be „playing with each other“ as in the latin dances, there can be a lot of communication between partners (such as the follower „changing“ or „morphing“ the leader’s „suggestions). A major focus is on *improvisation* and *musicality*

In one way or another many elements of the standard and latin dances can be found in argentine tango: such as the lack of body separation (standard) as well as the play and dialogue (latin).

##Limiting freedom creates a dance style
When Ⅰ started to dance Tango Ⅰ already had some experience in ballroom dancing (both standard and latin, as well as some salsa) and Ⅰ found Tango to be quite different and free. Free especially to dance with, within or to the music, with a complete spectrum of possibilities to create movement to whatever Ⅰ hear and feel at the moment. Way different than what Ⅰ experienced in ballroom.

###What exactly is that difference? Where does it come from?

The first noticeable difference was the timing of my steps in the music. For example when dancing Waltz there is three steps per measure, there is rise and fall in a quite similar fashion all the time and much more that Ⅰ do not want to get into here. For someone accustomed to dancing argentine tango this is a severe limitation – as in tango you have a complete freedom of choice when to step – once per beat, once per measure or every other possibility, as long as it is within your perception of the music everything goes.

There is also another question of timing: What happens in a dance when the „beat“ is heard? In the Waltz the beat „1“ is the point time where your momentum ⅰ.e. your kinetic energy is the highest – in argentine tango you finish the step at that point of time, ⅰ.e. all weight is transferred to the new leg – there is almost no step-motion anymore. Two completely different approaches to timing, both correct within their styles.

###Momentum vs. Readiness

What are these „limits“ that Ⅰ am talking about? Take the Waltz as an example: one major feature of this dance is the swinging motion, the continuous conversion of kinetic energy in potential energy and vice versa – we are talking major energies here. One could conceive of this energy like a bucket of water that stays full – no energy is lost in an extreme case, once the dance starts the dancer’s energy is aa closed system – changing and morphing in different types of energy but always constant. You give up „control“ of your motions by letting your body swing from one point of potential energy to another. Between these moments of „hovering“ the steps and rotations flow into each other all determined by the flow of the kinetic energy.

In contrast to this the physical processes in argentine tango are different – there is almost no momentum built up, each step ends without a major energy reserve built up. It is as if you collect your energies again after each step, recover the kinetic energy, and you rest at a constant level where this conversion is not so thorough and complete as in the Waltz. You retain control over your motions in every second. Every step is a beginning and an end – the previous step does not really need to be energetically connected to the next one.

###Differences in Posture and Expression

The posture in the waltz is designed to help control these physical forces resulting from this motion; sway, shape and every other aspect is dominated by these needs.

Quite in contrast to this the posture in argentine tango has no need to be shaped by a need for controlling forces. Instead the posture focuses on the connection between the dancers, on their shared intimacy as well as the need to be able to dance anything at any point of time – ensuring the leader’s freedom to lead any step without being limited by the previous step – and also enabling the follower to follow without inhibiting the leader.

Where the posture in the Waltz is designed to control momentum it is designed to create readiness for anything in argentine tango. Each dance style thus sacrifices the other – with the perfect posture in argentine tango there is no chance to survive forces and dynamics that a Waltz dancer can cope with easily. But on the other hand the use of momentum in dancing the Waltz prevents certain possibilities in movement – all based on basic physics, acceleration and deceleration.

So we can see there are fundamental differences in the two dances, determined explicitly by the way the movement is created, by their focus on how translational energy is used and/or controlled – this all in turn necessitating a completely different technique and posture.

###Evolutionary ties
A funny fact is that the standard dances have been danced in a posture quite similar to that of argentine tango (although not as close together) – with a forward poise – in the beginning of the 20th century. And back then momentum, expansive movement and dynamics were not as defining for these dances. Much of the expression came from fancy footwork. Just as it still is in argentine tango.

##Conclusion
So in essence it is the limits, the defining borders of these dance styles that actually create a space of possibilities for dancing, for a quality of movement as well as a toolbox of expressions.

Ⅰ believe in order to further understand each of the dances, in order to proceed in developing one’s dance style and proficiency it is essential to understand the reasons and requirements for each single defining moment of that dance. Only then a dancer can strive to achieve something unique, something that is more than just a reproduction.

This is especially true for a tango dancer; as an increased understanding of these foundations within the dance will open up possibilities both within these limits as well as chances to break these limits and expand the framework within which we dance.

To anyone who read thus far: what do you think about this?

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