Tango Walk

Discussion in 'Ballroom Dance' started by dancelover2012, Feb 24, 2013.

  1. In Int Tango, I wonder the location of the moving foot at the timing "&"
    For example, in prep. I stand on my RF with LF free a little bit before RF.
    At "1", LF forward in CBMP.
    At "&" RF is on the road of moving forward. The question is: at "&" RF is behind, next to, or in front of the LF?
    Thanks for any answer.
  2. Maybe my question is unclear.
    I wonder if when doing Tango walk, the moving foot is delayed in the begining (in this case at "&" it is behind the supporting foot) or it moves rightaway to the supporting foot?
  3. VTDancer

    VTDancer Member

    In a series of Tango walks I would say that the step is taken on 1 and the "free" leg comes under the body on &. I was originally taught this for all Tango "Slow"s but now usually dance them differently depending on the context.

    For example, in a Closed Promenade you might drive from the supporting leg on 1 and actually take the step on & which then moves you quickly into the 2 quicks. I like the speed that it give to the figure and think it makes it more interesting.

    If you are doing a series of slows that approach would not make sense to me, so I think the answer varies depending on the situation.
  4. Mengu

    Mengu Active Member

    In tango walks, I don't really think the free leg spends any appreciable time under the body, the foot is going from a placement behind you to a placement in front of you, and doing so reasonably quickly. While it's good to be aware of the foot passing through that neutral position, there is no pause, and I've never heard a timing assigned to it.
  5. Not pause the moving leg under the body at "&" like you think.
    The topic is the statement "In Int. Tango walk, keep the moving leg behind until the beat duration permits it, then move fastly to its position" is right or wrong?
  6. VTDancer

    VTDancer Member

    No. I think holding the leg back so long that it was still in place on & and then quickly moving it to the next step would be strange.
  7. tangotime

    tangotime Well-Known Member


    So.. you do not believe in the " delay " on back foot theory ? .In so doing, care should be taken, as to not create a " sitting " position .

    And ,one has to very careful, as to not create " swing " with walking actions.

    Not only Scrivener, but also Irvine, commented upon the lack of understanding , of how the distinction between Q and Slows , was being obscured . ( He, Irvine, was refering to the profs ) .
  8. fascination

    fascination Site Moderator Staff Member

    I have to say, I think my free leg spends plenty of time under my body before stepping...hmmm...quite deliberately
  9. Mengu

    Mengu Active Member

    Maybe I didn't say it very clearly. Yes, there is definitely a delay to create the staccato action. We should continue to use (roll through) the trailing foot as long as possible. All I'm saying is there is no pause as the free foot passes underneath the body, or maybe more accurately, as it passes the supporting leg. The speed of the foot has to accommodate the speed of the body. Maybe part of the misunderstanding is, I did say the foot has to be placed reasonably quickly (on whatever beat you intend to place it) because if it's too fast, the body won't be able to maintain a smooth progression, if it's too slow, it may fail to match the speed of the body. If any of this theory is wrong, please do correct me.
  10. Mr 4 styles

    Mr 4 styles Well-Known Member

    best analogy consider walking forward with swim fins on this is the action one wishes to create
  11. tangotime

    tangotime Well-Known Member

    The last para. is the one that may be mis-leading .

    1st.. lets look at what Scrivener used to teach in Prog walks.. he advocated a "step and catch" principle between the moving leg and the standing leg .It may be fractional, but it is there .

    As to when the weight of the moving leg receives weight, that, is dependant upon the variation, and expression used.

    Scriv. believed that tango was the easiest of the 4.. I take a little issue with that ( sorry len ) for this reason.

    Tango has so many variables working, even in basic variations. The closed Prom. for a good e.g. may be done in 2/3 different timings (per book for exams ! ).

    So.. I never asked him why he thought that ( maybe it was because of the foundational figures ?, ) which we often equate to "walking " .
    Over simplification ?.. absolutely !
  12. vit

    vit Active Member

    So is there a pause / slowing down of the free foot when passing the standing foot ? If it is, how much ? Is it only during walks / slow steps, or in some other figures as well ?
  13. tangotime

    tangotime Well-Known Member

    Like all dances, time allocation, is a form of expression to be used judiciously.

    The term frequently used is " delay " . As to the " walk ",delay on the back foot was used to prevent " swing ", but one needs to be careful that ,it does not impact the timing of the overall figure .

    Tango , possibly more than any other dance, has more obvious shades of timing than any other . It can, as we know, go from high energy to subtlety and stealth, within the space of a couple of bars . ( like Walk and prog. side to Link ) .
  14. Thanks for this explaination
  15. And what is the main action that made the "biggest" differrence between Waltz walk and Tango walk?
  16. fascination

    fascination Site Moderator Staff Member

    I would think it would be the speed of the free leg, andthe absence of rise and fall and rolling through the foot
  17. tangotime

    tangotime Well-Known Member

    Well, we dont have a traditional " Walk " in waltz, but if you mean a Fwd step, then, its the NO "swing " rule in Tango ,as to the direct opposite in Waltz .
  18. Warren J. Dew

    Warren J. Dew Well-Known Member

    I don't know about Scrivener, but I've known a few people that reached the same conclusion independently, and they all did it for the same reason: tango lacks the additional complication of swing.
  19. Warren J. Dew

    Warren J. Dew Well-Known Member

    For me it is that the tango walk is staccato, and the waltz step is flighted. You can stop at the end of any walking step, wait, and then continue, while remaining true to the action of the dance. In waltz this is not the case: stop at the end of step 1 of a natural turn, say, and you will have muscle your way into step 2, rather than using the body momentum that you would have used if you hadn't stopped.
  20. tangotime

    tangotime Well-Known Member

    If you knew your dance " history " , you would know that, Henry Jacques was the one who radically changed the existing format that now exists, and Scrivener added to that exponentially, and was the 1st to put that into writing , in a published tome . And doing so, ( mid 1930s ) before the majority of todays dancers were born ! .

    So, to say that "others " came to that conclusion , becomes secondary , at best .

    Its worth noting that, there isnt one Prof . today, from Irvines to Eggleton and Hilton that ,has not been influenced by the theories ,that both of those " giants " developed .

Share This Page