A rotation is not the same as a rotation

In preparation for my upcoming seminar “Giros and Enrosques for Tango and Vals” on September 28th and 29th, I wrote this text for my blog (which I am now reactivating):

I wondered why, for example, during a left turn, some dance couples experience jerky movements. Or why does a dancer manage a turn with a specific partner but not with another, even though the same turn works with a different dancer?

Two aspects, in my view, play a crucial role:

Musical connection
Mechanical connection

1. Musical Connection:

This aspect determines the tempo of the movement. Harmony arises with the same speed. If one partner moves rhythmically while the other moves melodically and turns, harmony is disrupted. One must be aware of this. Emotions and the interaction within the couple also play a significant role. Many couples may hear the music similarly but only reflect the acoustics, appearing mechanical. Others may hear the music similarly but dance passionately within it, feeling the music romantically, melancholically, or dramatically. These are often the “good” dancers. However, one might still feel, while watching them, that “something is missing.” These dance couples, even if they look good, are not truly connected. I claim that you could secretly switch partners without them noticing (or without it affecting their dance).
There are indeed only a few couples, at least in my perception, where the connection takes precedence. The partner is not interchangeable; instead, they are the driving force, influencing emotions, sensuality, and the entire dance. With these couples, there is an electrifying effect.

In summary, I would say that musical perception, tempo, and the degree of passion influence whether the elements are executed harmoniously or even divinely. It depends on whether both partners hear the music in the same way (melodic or rhythmic) (1), and if they do, whether they merely reflect the acoustics (2) or whether they dance with emotions to the music but individually, making the partner interchangeable (3), or if it all happens in a genuine connection, a fusion that occurs instinctively (4).
Certainly, for a technically clean execution of the turn, it is sufficient — concerning musical perception — that both hear the music similarly enough to dance at the same speed. To make the turn work, it is still essential to think about the mechanical connection.

2. Mechanical Connection:

This defines how two bodies embrace. An embrace over the hands, arms, and a partially light touch on the sides, I refer to as a punctual connection. Communication happens through these points of contact; here, signals for leading and following converge.

With full upper body contact, the connection is expansive, leading to a different form of communication. In the former, both partners are more or less on their own axis, i.e., two axes and two points of balance. In the latter, the two bodies are truly connected, creating a single balance in the couple. When both points of balance connect, the center of each dancer shifts – the center of mass moves backward (in contrast, in standard dances, dancers push their center forward).
I distinguish between an open or semi-open style (point connection) and the Milonguero style (expansive connection). I call the former “classic” because it is often used by salon dancers and stage dance couples (many consider these two groups contrary, but I still categorize them stylistically). I do not intend to evaluate these styles.

In the open/semi-open style, bodies ideally execute torsion, while in full contact, elasticity is used holistically: bodies stretch, turn, bend, go down, and extend. Even in walking, the body must stretch. The woman’s leg not only extends backward; it stretches in a way that the movement seems to originate from the center of her body. The impression is that the woman’s leg does not start at the pelvis but at the ribs.

What does this mean for the turn?

When Tete showed us his way of turning, we initially couldn’t do it because we danced in the open style. Only after establishing full contact could I replicate his turn. My then dance partner always intuitively responded, stretching with me and placing her steps toward me, which made it work. However, when I attempted Milonguero turns with other women with whom I could otherwise dance wonderfully in an open style, it didn’t work. So, it’s not enough that the leader establishes contact; the follower must also be fully elastic and employ it.

By the way, turns in the open style are also dependent on the body’s shape. I remember attempting a change of direction between the many turns Todaro showed in a workshop. It looked good and easy when he did it, but it was challenging to replicate. I realized that I first had to ‘mirror’ Todaro’s body. Todaro had his upper body slightly forward, his pelvis backward, and he bent his knees – when I imitated this, it worked. The lesson for me at that time: turns depend on body shape.

Conclusion:

Due to points 1 and 2, the technical execution of dancing or turning is influenced. Take the large right turn in the open style, for example: The movement is often started melodically, so the woman takes a very large backward step (almost over-rotated) to then quickly rhythmically circle around the partner. She must adjust her steps to the style and the music. In contrast, in the Milonguero style, during the Giro Cortado, the woman strongly twists her forward step toward the partner. The forward step almost becomes an open cross. If the woman continues to circle the man as she does in the open style, it will be challenging to make it work.

Through my monthly seminars, I have learned a lot. My students and the dance teachers in my team prompt me to contemplate all of this and understand things I do intuitively by thinking them through. By the way, the seminar on turns takes place once a year. The next date is on September 28th and 29th. I look forward to everyone who joins.