In today’s tango world, it’s far more accepted — especially in Europe — that no one gives a rat’s damn which role you want to dance. Some men prefer dancing as Followers. Some women prefer dancing as Leads. And some of us learn both roles, dance both roles, and even teach both roles so that others can do what they want.

So let’s clarify what it means to be a dual-role dancer:

You are studying or dancing both roles — or both.

You can swap the embrace at any point in a song and either follow someone else’s lead or lead someone else, without blinking or freaking out about it.

Dancing both roles also means that you either promote the practice, attend events that allow it, or both.

When teaching people about the music of Argentine Tango, most teachers focus on the Beat. They gauge a dancer’s ability to “get” tango by how well they can hear and reproduce that beat. This approach is what I call the Beat Methodology, and it forms the basis of what’s commonly known as the 8-Count Beat Method — the foundation of the A/B Methodology, or the standard framework for listening to and interpreting tango music.

“When is it wrong to do LIFTS in Tango ?” – Yvonne Asked. Answer ? First and foremost, thanks for the question. This stuff doesn’t get talked about enough. Secondly, there are several parts to your question that need to be addressed. Lastly, it should be noted that while I’ve

Found a version of this on Stef Salsa Tango Swing‘s wall. I think she’s right about the topic. Specifically > — The leading person in the outer track (1) should NOT intrude into the inner lane (2). Stef said > “When dancing in the inner lane, I notice at every

Once Upon A Time or How I got to Berlin… Before my exodus to Germany, I had made the decision to jump back into teaching tango again after my vanlife project had been completed. My plan was to go from city to city in the United States, sharing the REVOLUTIONARY